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A  WET  DAY 


THE 

PRACTICAL  COLORIST 

A  PATHFINDER 
FOR  THE  ARTIST  PRINTER 


¥ 


Hv  FREDERICK  M.  SHELDON 


¥ 


BURLINGTON,  \  T. 

THE  OWL  PRESS 
I  900 


PREFACE. 


Believing  that  in  the  heart  of  every  printer  there  is  a 
strong  desire  to  rise  above  the  common  level,  out  of 
the  lethargic  indifference  of  the  past,  into  the  joy 
of  the  aggressive  artist  printer,  I  have  assembled  the 
matter  in  THE  PRACTICAL  COLORIST  as  a  means  to  this  end.  This 
book  is  not  a  text-book  on  the  science  of  light  and  color.  Only  that 
of  vital  interest  to  the  color  printer  has  been  taken  from  the  science 
of  chromatics  ;  much  of  this  science  having  been  purposely  omitted, 
that  nothing  should  be  introduced  which  could  possibly  tend  to 
mistify  or  hinder.  The  laws  governing  the  technique  of  color 
printing  have  been  simply  and  plainly  stated,  and  illustrated  and 
even  repeated  in  order  to  fix  them  indelibly  upon  the  mind.  The 
illustrations  are  most  simple  and  plain  every-day  applications  of 
color  effect  any  one  of  which  can  be  reproduced  in  any  ordinary 
job  office.  The  book  treats  of  nothing  but  the  simple  details 
essential  to  good  work,  but  to  one  who  aspires  to  success  in  illumi¬ 
nating,  these  details  are,  of  all  things,  most  valuable.  In  fact,  THE 
Practical  Colorist,  from  beginning  to  end,  is  one  earnest  plea, 
by  precept  and  illustration,  for  simple,  plain,  neat,  and  readable  type 
and  color  effects. 

Just  as  all  music  must  have  its  key-note,  so  every  combination 
of  colors  must  have  its  dominant  color,  which  gives  tone  and  life  to 
the  combination.  To  do  effective  work  one  must  fully  understand 
chromatics  and  harmony.  While  he  who  does  not  somewhat  under¬ 
stand  music  and  its  laws,  is  most  rare,  but  few  know  anything  of 
the  laws  of  harmony  of  color,  and  a  still  smaller  number,  get  any¬ 
thing  like  full  enjoyment  from  all  the  beauties  of  nature’s  colors 
which  surround  them.  This  lack  of  knowledge  is  partly  due  to  the 


scarcity  of  text-books  which  treat  harmony  in  so  simple,  and  yet  so 
terse  a  manner  as  to  make  it  easy  to  acquire.  1  his  book  aims  to 
help  along  this  line.  The  young,  aspiring  printer,  cannot  consider 
ids  education  complete  until  he  has  mastered  this  most  essential 
science. 

Reader,  kindly  search  as  for  hidden  treasure,  holding  fast 
and  using  anything  good  and  straightway  forgetting  any  imperfec¬ 
tions  resulting  from  condensing  into  small  space,  from  a  wide  and 
fascinating  field. 


F.  M.  S. 


CONTENTS. 


DEFINITIONS.  page 

(  olor — Piimary,  Secondary,  Tertiary  Colors — Hue — Tone — Harmony — etc.  -  7 

COLOR. 

Color  Modified — Light — Wave  Theory — Vibrations — Prismatic  Spectrum — Disin¬ 
tegration — Prismatic  Colors — Visibility — Absorption — Decomposition — Reflec¬ 
tion — Influence  of  Surroundings — Sunset — Standard  of  Color — Scientists’ 
Primaries — Pigment  Primaries— Triangle — Secondary,  Tertiary,  Complemen¬ 
tary,  Warm,  and  Cold  Colors — Tone — Hue — Scale  .....  9 

HARMONY. 

Harmony  Defined — Harmony  of  Relative  or  Analogous  Colors  and  Subdivisions — 
Haimony  of  Contrasting  Colors  and  Subdivisions — Black — White — Red — 
Yellow —  Blue — Orange — Green — Violet — Neutral  Grey—  Colored  Grey — List 
of  Combinations — Three-Culor  Combinations  -  -  -  -  -  -  28 

COLOR  MODIFIED. 

Colors  Appear  to  Change — Vibration — Dust  in  Air — Normal  and  Color-blind  Eye — 
Fatigue  of  the  Eye — Simultaneous  Contrasts — List  of  Simultaneous  Contrasts 
—  Eight  Modifies  Color — List  of  Changes  Caused  by  Different  Lights  -  -  87 

PRINTING. 

Cause  and  Effect — The  Color  Printer — Character  of  Work  and  Worker — Intelligence 

and  Taste — A,  B,  C,  of  Color  Work  ........  45 

INKS. 

How  to  Select  — Mixing — Tone — Tint — Hue — Red — Yellow — Blue — Two-Color 
.Mixtures — Three-Color  Mixtures — Opaque  and  Transparent  Inks — Paper  and 
Ink — Driers — Driers  and  Reducers  Combined — Reducers — Printing  on  Coated 
Paper — Coat  Pulls  Off — Ink  Piles  up  on  Half-'I'one — Mottling — Gold  Size — 

(dold  Ink — Gold  Leaf — Copying  Ink — Gloss  Effects — To  Varnish  Labels — 
Printing  on  Oily  Surfaces — Nickel  Plated  Electros . 48 

ROLLERS. 

flood  Rollers — Glycerine  Rollers — Care  of  Rollers — Choice — Cylinder  Rollers 
— Heat  and  Cold — Composition  -  -  -  -  -  -  -  -  84 


MAKEREADY. 


Economy  Lockup — Packing — Underlaying — Overlaying — Spongy  Overlays _ 

Half-Tones — Electricity . 


JOB  WORK. 

Three  Kinds— Every-Day  Run  of  Work— Good  but  Cheap  Work- Illustra¬ 
tions— Simplicity— Harmony— Two-Color  Effects— Control  the  Home  Field- 
Advertisement  Writing— Lithographed  Work— Half-Tone  Cuts-The  Camera 
—Electrotyping— Twenty  Per  Cent  Profit— Good  Proofs— Size  of  Pages— 
Legibility— Paper— Folders  and  Pamphlets— Calendars— Printing  in  Colors- 
Lockup  for  Color  Porms — Color- Work — Samples  of  Perfect  Printing — Refer¬ 
ence  Cards— Private  Mailing  Cards— Business  Cards— Blotters— Receipts— 
Checks— Mail  Slips— Envelopes— Letter  Heads  and  Memorandums— State¬ 
ments  and  Bill  Heads — Embossing — Embossing  Composition 


THREE-COLOR  PROCESS  WORK. 

Photo-Trichromatic  Printing — How  Plates  are  Made— Method  of  Printing-Ink _ 

Paper  Press  Cylinder  Press — Color  Work  on  Newspapers  and  Magazines  -  1 

ILLUSTRATIONS. 

Plan  Explained-Plain  Type  Effects-Rule  Added-Series  of  Types-Rule  and 
Ornament— Rule,  Ornament,  and  Border— Colored  Inks— Two  and  Three- 
Color  Effects  by  One  Printing— Two-Color  Effects -Contrast  of  Complemen- 
taries— Simultaneous  Contrasts— Contrast  of  Secondaries— Choice  of  Best 
^  Color— Contrast  of  Primaries— Related  Colors— Contrast  of  Tone— Half-Tones 
in  Two  Printings-Contrast  of  Hue-Tints-Harmony  of  Dominant  Color- 

Hues  Different  in  Tone — Hues  of  Equal  Intensity — Colored  Paper Half- 

Tones  Three-Color  Effects — Is  Color  Work  Profitable — Cover  Designs 

Colored  Stock  and  Inks — Illustrated  Advertisements  -  -  .  .  .  i 


SUMMARY. 


DEFINITIONS. 


The  Prismatic  Spectrum  is  the  result  of  disintegrating  or 
decomposing  a  ray  of  light  by  passing  it  through  a  prism. 

Prismatic  Colors  are  the  visible  elements  of  light  which  have 
been  disintegrated  by  passing  through  a  prism. 

Color  is  a  sensation  resulting  from  exciting  the  nerves  of  the 
retina  of  the  eye  by  the  action  of  one  or  more  of  the  elements  of  light. 

Standard  of  Coi.or.  The  colors  of  the  rainbow  or  spectrum 
are  always  the  same,  hence  they  form  a  constant  or  standard  of  color. 

Primary  Pigment  Colors  are  red,  yellow,  and  blue ;  primary 
because  from  them  all  other  colors  can  be  made. 

Secondary  Pigment  Colors  are  orange,  green,  and  violet; 
secondary  because  they  are  made  by  a  combination  of  two  of  the 
primary  colors. 

Tertiary  Pigment  Colors  are  russet,  olive,  and  citron  ;  being 
made  by  a  combination  of  two  of  the  secondary  colors. 

Complementary  Colors  are  any  two  colors  which,  when  com¬ 
bined,  produce  white  light ;  that  is,  when  the  two  sensations  unite 
they  affect  the  eye  the  same  as  white  light. 

Normal  Colors  are  pure  and  full,  the  .same  as  spectrum  colors. 

Broken  Colors  are  those  which  contain  some  of  all  the  pri¬ 
maries. 

Warm  Colors,  also  called  luminous  colors,  are  red,  orange, 
yellow,  light  green,  and  light  tones  of  the  somber  colors. 


7 


Cold  Colors,  also  called  somber  colors,  are  blue,  indigo, 
violet,  dark  green,  and  broken  hues  of  the  luminous  colors. 

Tones  of  a  color  are  the  result  of  adding  white  or  black,  in 
increasing  proportions,  to  the  color  taken  at  its  highest  intensity. 

Hues  of  a  color  are  the  result  of  adding,  in  increasing  propor¬ 
tions,  one  color  to  another. 

Tints  are  the  light  tones  produced  by  adding  a  little  color  to 
white. 

Scale  is  the  series  of  tones  or  hues  of  a  color. 

Harmony  is  the  result  of  properly  applying  the  laws  governing 
the  mixture  of  colors  so  as  to  produce  the  correct  sensation  on  the 
retina  of  the  eye. 

Contrast  of  Colors  is  the  effect  produced  when  two  colors, 
which  differ  widely  in  depth  of  tone  or  hue,  are  brought  side  by  side. 

Related  Colors  are  those  which  have  ' some  one  color  in  com¬ 
mon  in  their  composition. 

Simultaneous  Contrast  is  the  result  of  viewing  two  or  more 
colors  which  are  in  juxtaposition,  neither  of  the  colors  appearing  just 
the  same  as  if  viewed  alone,  but  of  a  color  which  is  the  result  of  its 
original  color  plus  the  complement  of  the  other  color. 

Decomposition  of  light  is  separating  it  into  its  elements. 


8 


COLOR. 

OLOR  is  a  sensation  resulting  from  exciting 
the  nerves  of  the  retina  of  the  eye  by  the 
action  of  one  or  more  of  the  elements  of 
light.  Color  is  a  property  of  an  object 
simply  in  the  sense  that  a  certain  object  is 
able  to  decompose  the  light  falling  upon  it, 
absorbing  a  part  and  reflecting  the  remain¬ 
der.  The  part  reflected  we  term  the  color 
of  the  object,  as  only  the  reflected  color  is 
visible.  If  it  reflects  only  those  waves  capable  of  affecting  the  red 
end-organ  of  the  eye  we  say  the  object  is  red  ;  if  it  absorbs  all  the  light 
it  appears  black  ;  if  it  reflects  all  it  appears  white  because  it  affects  all 
the  end-organs  alike.  Color  then  has  no  material  existence.  It  is  an 
internal  sensation  caused  by  decomposed  light,  hence  there  can  be  no 
-color  without  light. 

jt  jt 

Light. — The  principal  source  of  light  and  color  is  the  sun, 
hence  at  the  outset  it  becomes  essential  that  sunlight  be  carefully 
analyzed  and  studied.  The  Wave  Theory  of  light  is  practically  ac¬ 
cepted  as  being  the  only  way  of  accurately  explaining  all  its  phe-*^ 
nomena.  This  theory  assumes  that  the  molecules  of  luminous  bodies 
are  constantly  vibraiing  with  great  rapidity,  and  that  the\  transmit 
these  vibrations  to  the  ether  which  is  supposed  to  extend  through  all 
space  and  even  to  surround  all  molecules. 

This  theory  is  clearly  illustrated  by  throwing  a  pebble  into 
the  unruffled  waters  of  a  mill-pond  ;  the  blow  struck  by  the  pebble  on 
the  water  causes  wave  after  wave  to  spread  in  every  direction.  Each 
particle  of  water  passes  the  motion  on  and  returns  to  its  original  posi¬ 
tion.  Jtist  so  the  extremely  rapid  vibration  of  the  molecules  of  light 
;set  in  motion  vibrations  of  ether  of  the  same  wave  length  and  speed. 

Each  color  ray  vibrates  many  billion  times  a  second,  always  the 
«ame,  but  each  with  a  different  rate  of  vibration  from  all  others. 
Red  vibrates  four  hundred  and  twenty-two  billion  times  a  second 
while  violet  vibrates  seven  hundred  and  ninety-nine  billion  times,  thus 


9 


COLOR 

Vibration 

Prismatic 

Spectrum 


producing  on  the  eye  not  only  color,  but  harmony  or  discord,  accord¬ 
ing  as  the  vibrations  are  or  are  not  in  proper  multiples.  The  scale 
of  luminosity  varies  in  the  different  colors  in  a  similar  manner,  rang¬ 
ing  down  each  way  from  yellow,  which  is  the  most  luminous  color. 

The  fact  that  a  color  always  \  ibrates  at  the  same  speed  and  that 
its  wave  lengths  are  always  the  same  aids  greatly  in  analyzing  color. 
In  fact,  it  is  the  power  of  the  wave  length,  which  vibrates  four  hun¬ 
dred  and  twenty-two  billion  tiiues  a  second,  to  affect  one  of  the  end- 
organs  of  the  eye  and  its  inability  to  affect  the  other  too  perceptibly, 
that  makes  it  possible  to  distinguish  red,  and  in  the  same  manner  a 
wave  of  a  different  vibration  affects  the  second  end-organ,  and  still 
another  the  third. 


The  Prismatic  Spectrum  is  the  result  of  disintegrating  a  ray 
of  light  by  passing  it  through  a  prism.  It  has  long  been  known  that 
when  a  ray  of  sunlight  which  is  colorless  to  the  eye,  passes  from  a 
rare  through  a  more  dense  substance,  it  is  refracted  or  bent  from  its 
straight  course,  but  to  Newton,  was  left  the  great  discovery  that  white 
light  could  be  disintegrated — divided  Into  its  elements — that,  in  fact, 
when  passed  through  a  prism,  if  caught  on  a  white  screen,  its  ele¬ 
ments  would  be  spread  upon  the  screen  in  their  relative  positions, 
just  like  the  rainbow  This  gave  to  the  world  the  prismatic  spectrum. 
It  also  taught  that  white  light  is  composed  of  many  colors,  which, 
when  combined  in  just  the  proper  proportions,  give  white. 


Prismatic  Colors  are  the  elements  or  colors  resulting  from  the 
spectrum.  Any  fixed  number  of  prismatic  colors  is  of  necessity 
arbitrarv,  for  while  three  primaiy  and  three  secondary  colors  are 
distinctly  seen,  there  are  also  hues  of  these  colors  which  are  more  or 
less  visible.  The  individual  colors  of  the  spectrum  cannot  be  disin¬ 
tegrated  by  refraction.  We  learn  that  each  color  has  its  own  angle  of 
refraction  which  is  always  the  same,  but  different  from  all  others. 
Each  color  of  the  spectrum  always  occupies  the  same  relative  posi¬ 
tion  to  the  others,  the  order  being  as  follows  : — red,  orange,  yellow, 
green,  blue,  violet, — red  being  refracted  least  is  first,  and  on  to  violet 
which  is  refracted  most. 

Visibility. — Whatever  may  be  seen  is  visible  because  it  is  either 
a  luminous  body  or  capable  of  reflecting  light.  The  sun,  stars,  and 
all  artificial  lights  are  luminous.  A  beam  of  light  from  a  luminous 
body  travels  in  a  straight  line,  and  when  stopped  causes  a  shadow. 


10 


This  beam  would  be  invisible  except  in  its  direct  line  of  travel, 
when  passing  through  a  vacuum,  or  indeed  through  air  deprived  of 
dust,  moisture  or  anything  that  could  possibly  reflect  or  refract  its  rays. 
Light,  then,  is  invisible,  yet  it  may  become  visible  if  intercepted  by 
anything  capable  of  irregularly  reflecting  it. 

To  absorption,  and  the  phenomena  of  dispersion,  diffraction,  and 
polarization  are  due  all  the  glorious  colors,  which  make  the  plumage 
of  birds  and  the  scales  of  fishes  and  insects  beautiful  beyond  the  power 
of  man  to  imitate  or  describe.  Decomposition  of  light  by  absorption 
when  it  comes  in  contact  with  natural  objects  is  one  of  the  laws  of 
color.  The  color  stopped  or  absorbed  by  a  body,  plus  the  color 
given  off  or  reflected  will  be  white.  It  is  this  absorption  and 
reflection  of  light  which  gives  to  any  object  its  appearance  of  color. 

Bodies  which  reflect  light  regularly ^  like  a  mirror  or  any  polish¬ 
ed  surface,  simply  give  back  an  image  of  the  source  of  light.  Any¬ 
thing  which  reflects  light  irregularly^  as  from  a  minutely  irregular 
surface,  gives  an  image  of  the  object  which  reflects  it.  This  object, 
for  instance  a  book,  absorbs  all  the  wave  lengths  except  those  capable 
of  producing  red,  and  these  it  cannot  absorb  hence  it  reflects  them, 
thus  giving  the  book  a  red  appearance.  Difierent  objects  then  are 
distinguished  by  the  color  waves  which  they  reflect  and  by  the  manner 
and  intensity  of  this  reflection.  Surroundings  and  environment  exert 
a  great  influence  over  this,  as  will  be  seen  by  later  experiments.  This 
is  also  wonderfully  illustrated  by  the  many  colors  of  cloud  and  sunset 
sky,  which  often  change  in  tone  and  hue  with  wonderful  rapidity. 
A  dense  cloud  often  appears  quite  black  when  between  the  sun  and 
the  eye  of  the  observer,  as  it  largely  intercepts  the  light,  but  the  same 
cloud  may  become  white  or  tinged  with  a  most  beautiful  and  fascinat¬ 
ing  array  of  colors  when  so  situated  that  the  sun’s  rays  fall  upon  its 
minute  particles  in  such  a  manner  that  they  will  reflect  and  refract 
the  light  to  and  from  each  other,  breaking  it  up  into  its  elements 
and  illuminating  the  whole  cloud  with  a  blaze  of  splendor. 


COLOR 

Visibility 


Standard  of 
Color 


Standard  of  Color. — The  colors  of  the  spectrum  or  rainbow 
are  always  the  same,  hence  they  form  a  good  constant  or  a  standard 
of  color.  The  necessity  of  a  standard  with  unvarying  names  for 
the  different  colors,  hues,  and  tones,  is  a  long  felt  want.  For  the  lack 
of  some  agreement  on  this  subject  by  ink  manufacturers,  great  con¬ 
fusion  arises,  making  it  almost  useless  to  give  proportions  of  the 
different  colors  necessary  to  be  used  in  mixing  inks  in  order  to  secure 
any  certain  color.  Each  name  should  apply  to  but  one  definite  hue. 


11 


OOLOK 

Prismatic 

and 

Pigment 

Primaries 


Primary  Colors. — Different  scientists  appear  to  hold  widely 
differing  opinions  as  to  V/^hich  are  the  primary  colors.  Dr.  Young 
and  some  of  his  recent  followers  claim  red,  green,  and  violet  as  the 
primaries,  while  Chevreul  and  other  equally  noted  colorists  claim 
them  to  be  red,  yellow,  and  blue.  In  fact,  no  two  of  Young’s  follow¬ 
ers,  chose  their  colors  from  exactly  the  same  position  on  the  spectrum, 
though  giving  them  the  same  name.  It  is  even  seriously  claimed  that 
no  three  colors  are  primary. 

This  apparent  diversity  of  opinion  is  due  largely  to  misconception 
of  the  fundamental  facts.  Each  theory  being  worked  out  and  proven 
from  a  different  standpoint.  There  is  also  an  element  of  arbitrary 
choice  which  creeps  in.  Dr.  Young’s  theory  that  the  prismatic 
primary  colors  are  red,  green,  and  violet  is  now  generally  accepted, 
and  this  theoiy  is  bourne  out  by  the  fact  that  fundamental  color  sensa¬ 
tions  of  the  eye  are  received  on  three  end-organs,  one  receiving  red 
sensations,  the  next  green,  and  the  third  violet.  From  various  pro¬ 
portions  of  excitement  of  these  nerves  we  see  all  the  visible  colors, 
thus  proving  that  all  colors  can  be  secured  by  mixing  colored  light 
with  these  primaries.  These  are  the  scieittisfs  primary  colors,  and 
he  deals  only  with  light  and  its  colors.  These  then  should  be  called 
Primary  Spectrum  colors. 


Primary  Pigment  Colors. — The  artist  in  mixing  pigment 
colors  finds  many  spectrum  color  laws  reversed,  for  instance,  the  pig¬ 
ment  primaries  are  red,  yellow,  and  blue.  The  result  of  mixing 
colored  pigment  and  colored  light  is  often  just  the  reverse.  Hence 
it  is  necessary  in  order  to  avoid*  complicating  and  entangling  the  two 
theories,  to  state  only  the  principles  governing  pigment  colors,  as  this 
treatise  has  largely  to  do  with  this  class  of  work.  To  go  into  details 
of  both  would  only  tend  to  defeat  the  aim  of  this  book,  which  is 
simplicity  and  clearness. 

Red,  Yellow,  and  Blue  are  primary  or  fundamental  pigment 
colors  because  by  the  mixing  of  these  pigments  in  varying  proportions 
all  other  colors  can  be  secured.  Whenever  in  future  these  colors  are 
referred  to  as  primary  it  is  to  be  understood  that  they  are  pigment 
primaries. 

The  triangle  seems  best  of  all  tried  schemes,  to  bring,  in  simple, 
yet  in  most  forceful  manner  to  the  understanding  of  the  student  the 
important  facts,  principles,  relationships,  and  contrasts  of  the  colors 
of  the  spectrum.  Triangle  No.  i  gives  only  the  primary  colors. 

The  primary  pigment  colors  harmonize  well  together,  because 


12 


when  pure,  each  has  but  very  little  of  any  other  color  in  its  makeup. 
Theoretically  they  should  be  absolutely  pure,  but  practically  there  is 
a  little  red,  and  yellow,  and  blue  in  all.  Red  is  at  its  strongest 
intensity  at  the  top  of  the  triangle,  and  all  intermediate  hues,  lying 
between  red  and  blue,  or  between  red  and  yellow  are  made  bv  adding, 
in  ever  increasing  quantities,  one  of  the  other  colors  to  red.  This 
principle  also  applies  to  yellow  and  blue  just  the  same  as  to  red. 


RED 


BLUE  YEI-LOW 

TRIANGLE  NO.  1 


COLOR 

Triangle 

No.l 

Primary 


It  is  readily  seen,  that  each  primary  is  related  to  all  colors  on 
the  two  sides  of  the  triangle  which  form  its  angle,  as  it  enters  more  or 
less  largely  into  the  makeup  of  all  these  colors,  and  it  is  also  apparent 
that  it  cannot  be  related  to  those  on  the  third  side  of  the  triangle  as  it 
does  not  enter  into  their  composition.  The  importance  of  this  and' 
other  lessons  drawn  from  the  triangle  will  be  more  apparent  as  the 
study  of  harmony  is  taken  up.  Each  of  the  succeeding  triangles  will 


13 


COLOK 

Triangle 
No.  2 

iSecondary 


further  explain  and  illustrate  the  principles  involved  in  harmony  and 
the  mixing  of  colors. 

Secondary  Pigment  Colors — The  secondary  colors  are 
orange,  green,  and  violet.  They  are  secondary  because  produced 
by  a  combination  of  two  of  the  primary  colors. 


RED 


TRIANGLK  NO.  2 

The  triangle  No.  2  gives  the  primaries  and  secondaries  in  their 
proper  positions,  showing  proportions,  relations,  and  laws  governing 
their  hues,  etc.,  in  a  much  more  plain  and  impressive  manner  than 
would  be  possible  in  words. 

It  will  readily  be  seen  that  each  secondary  is  between  the  two 
primaries  from  a  mixture  of  which  it  is  formed — red  and  yellow  giving 
orange,  blue  and  red  giving  violet,  yellow  and  blue  giving  green. 


14 


Many  helpful  facts  may  be  fixed  in  the  mind  by  a  careful  study  of  this 
triangle.  Complementary  colors  are  shown  plainly  and  simply.  For 
instance  green,  which  is  between  blue  and  yellow,  has  practically  no 
red  in  its  composition,  hence  it  offers  the  greatest  contrast  to  red,  and 
is  its  complementary.  The  same  principle  applied  to  orange  or  violet 


COLOR 

Triangle 
No.  3 

Tertiary 


RED 


will  show  their  complementary  colors.  The  mere  statement  of  the 
above  facts  might  fail  to  impress  themselves  on  the  memory,  but  the 
illustration  of  the  triangle  makes  it  not  only  plain  and  simple,  but 
indelibly  fixes  the  fact  on  the  mind. 

Tertiary  Pigment  Colors. — Russet,  olive,  and  citron  are 
the  three  tertiary  colors,  so  called  because  of  the  third  combination, 
being  formed  by  combining  two  secondaries. 


15 


COLOR  triangle  shows  at  a  glance  the  whole  scheme  of  the  relation- 

^  ship  of  the  primaries,  secondaries  and  tertiaries.  It  also  shows  that 

Colors  ^  tertiary  colors  are  formed  by  mixing  secondary  colors  as  follows  : 

— orange  and  green  give  citron — green  and  violet  give  olive — violet 
and  orange  give  russet.  A  further  study  of  the  triangle  will  reveal 
the  fact  that  all  three  primaries  enter,  through  the  secondaries,  into 
each  tertiary  color.  For  example,  citron  which  is  composed  of 
orange  and  green,  receives  yellow  from  both  green  and  orange,  while 
it  receives  red  only  from  orange,  and  blue  only  from  green,  hence  it 
has  twice  as  much  yellow  in  its  composition  as  of  either  red  or  blue. 

Using  the  tertiary  or  broken  colors  requires  great  skill  when  they 
are  to  be  used  alongside  of  other  colors,  as  it  is  necessary  to  know 
their  exact  composition  before  choosing,  so  as  to  secure  harmonious 
results.  Yet  it  is  by  the  use  of  these  broken  colors  and  their  various 
tones  and  hues,  that  the  most  attractive  effects  are  secured. 


Complementary  Colors. — Complementary  spectrum  colors  are 
any  two  colors  which,  when  added  prismatically  one  to  the  other, 
will  form  white  light.  It  is  best  to  state  here  that  the  pigment  colors, 
on  account  of  their  impurity,  come  somewhat  short  of  being  comple¬ 
mentary  but  are  more  properly  termed  contrasting  colors. 

Since  the  combination  of  the  three  primary  colors  produces  the 
sensation  of  white  light,  it  is  evident  that  one  of  the  complementaries 
must  be  of  secondary  formation  in  order  to  secure  all  the  colors  neces¬ 
sary  to  white.  It  is  also  evident  by  a  glance  at  the  triangle  that 
complementary  colors  are  not  related — have  in  fact  nothing  in  common. 
Thus  the  complement  of  red  must  contain  both  yellow  and  blue,  which 
are  the  other  two  colors  needed  by  red  to  form  white.  This  color,  it 
is  seen  from  the  triangle,  is  green,  which  is  composed  of  a  mixture  of 
yellow  and  blue.  Green  then,  chosen  more  or  less  distant  from  blue, 
according  as  the  red  is  of  a  yellowish  or  bluish  hue,  will  form  the 
complement  of  red.  Bearing  the  above  principle  in  mind  it  is  readily 
seen  that  orange  is  complementary  to  blue,  and  violet  to  j-ellow. 

With  the  present  impurity  of  inks,  an  equal  mixture  of  primary 
pigments  would  give  a  greyish  black  instead  of  white  as  is  the  result 
of  mixing  colored  light.  It  is  then  evident  that  the  color  printer  has 
not  only  pigments  to  mix,  but  he  also  has  to  consider  the  fact  that 
he  must  mix  his  colors  for  the  retina  of  the  eye.  In  the  eye  the 
principles  of  prismatic  colors  are  in  full  force.  Becoming  perfectly 
familiar  with  these  little  details  of  technique  is  the  only  means  of  gain¬ 
ing  an  accurate  eye  and  good  judgment.  It  is  then  apparent  that  a 


16 


thorough  knowledge  of  both  pigment  mixing  and  scientific  color 
mixing  is  absolutely  essential. 

The  principle  of  complementary  colors  can  readily  be  tested  by 
looking  intently  for  a  moment  at  the  small  red  diamond  on  the  page 
illustrating  Optical  Illusions,  and  then  quickly  shifting  the  eye  on¬ 
to  a  white  surface  ;  the  complement  of  red,  which  is  green,  will  be 
seen  in  a  soft,  distinct  tint  just  the  same  size  and  shape  as  the  diamond. 
This  can  also  be  tested  by  using  the  colored  figures  on  page  i8.  In 
this  manner  the  complement  of  any  color  can  readily  be  ascertained. 

This  test  is  often  of  great  service  to  one  in  selecting  harmonious 
colors  in  printing.  This  peculiar  phenomena  becomes  simple  when 
it  is  understood  that  this  result  always  follows  fatigue  of  the  eye. 
This  fatigue  is  far  reaching  in  its  influence  and  is  too  little  understood 
and  consulted.  This  subject  will  be  more  fully  treated  later  on. 

If  comjDlementary  colors  are  viewed  in  juxtaposition  eacn  will 
throw  its  complement  upon  the  other,  raising  its  tone  quite  precepti- 
bly.  If  one  color  is  largely  in  excess  of  the  other,  its  complement, 
thrown  on  the  other  color,  will  have  a  most  marked  effect.  This  is 
mixing  complementary  colors  in  the  eye.  A  marked  illustration  of 
this  is  seen  on  page  i8,  which  is  devoted  to  showing  contrast  of  colors 
with  white,  grey  and  black. 

This  influence  of  a  large  area  over  a  color  occup3ing  a  small 
space  is  important,  and  very  far  reaching  in  its  effects  and  it  occurs 
more  often  than  an}^  other,  and  is  perhaps  the  least  likely  to  be  con¬ 
sidered.  By  looking  carefull}^  at  the  illustration  it  will  be  readily 
seen  that  while  all  three  red  figures  were  printed  at  one  impression 
and  with  one  ink,  the  red  figure  surrounded  by  white  appears  several 
shades  deeper  in  tone  than  the  red  surrounded  by  grey  or  black. 
Had  the  red  and  black  occupied  the  same  relative  space  the  change 
would  have  been  so  slight  as  not  to  have  been  noticeable. 

In  the  illustration  of  Optical  Illusions  it  will  be  seen  that  while 
the  solid  red  diamond  gives  a  lull,  strong  tint  of  the  complementary 
color,  the  little  green  page  looses  head,  arms  and  feet  in  the  comple¬ 
mentary  tint,  as  the  volume  of  color  in  these  parts  is  mixed  with  much 
white,  and  is  not  sufficiently  large  in  area  to  affect  the  eye  sufficiently 
to  call  up  the  complement.  This  again  shows  the  relative  value  of 
small  and  large  areas. 


OOLOE 

Warm  Colors 


Warm  Colors — The  warm  or  luminous  colors  are  \  ellow, 
orange,  red,  light  green,  and  light  hues  of  blue  and  violet.  Olive, 
being  composed  of  two  luminous  colors  cannot  become  somber.  If 
blue  predominates  in  green  it  is  cold,  but  if  yellow  predominates  the 


19 


COLOR 

Gold  Colors 
Tone 


green  is  warm.  These  colors  will  be  fully  treated  individually  later  on. 

Illustrations  of  the  colors,  and  of  their  combinations  and  influence 
upon  each  other  will  be  found  in  the  display  pages.  These  illustra¬ 
tions  contain  a  great  number  of  peculiar  effects  both  good  and  bad 
which  will  furnish  much  opportunity  for  study  and  comparison. 

Cold  Colors. — The  cold  or  somber  colors  are  blue,  violet,  and 
deep  green,  also  deep  shades  of  the  luminous  colors.  It  is  often  of 
advantage  to  use  light  tones  of  the  cold  colors,  especially  if  several 
cold  colors  are  to  be  used  together,  in  order  to  relieve  the  somber 
effect  as  much  as  possible.  The  cold  colors  are  at  their  best  when 
contrasted  by  their  complementaries  which,  being  warm,  add  force 
and  brightness  to  the  effect. 

Tone. — The  tones  of  a  color  result  from  adding  white  or  black 
in  ever  increasing  proportions  to  the  color  taken  at  its  highest  intensity. 


SCALE  OF  TONES  ^ 


To  add  black  to  any  of  the  lesser  tones  would  at  once  cause  it  to  leave 
its  scale,  and  it  would  no  longer  be  a  tone  of  the  same  color.  Tones, 
then,  always  refer  to  the  lighter  or  darker  shades  of  a  color. 

The  accompanying  engraving  illustrates  both  what  a  tone  is  and 
a  scale  of  tones.  Only  a  few  of  the  many  tones  can  be  given  in  this 
illustration,  but  the  engraving,  starling  as  it  does  with  a  full  color  and 
coming  down  the  scale,  tone  by  tone,  to  a  very  light  shade,  shows 
in  a  most  clear  manner  just  what  a  tone  is. 


20 


Each  addition  of  white  to  a  color  decreases  its  intensity.  If 
^black  be  added  it  deepens  the  intensity.  Almost  an  infinite  number 
-of  tones  of  each  color  or  hue  are  possible  by  careful  gradation. 

Great  confusion  arises  from  the  careless  use  of  the  words  tone 
-and  huc^  as  if  they  were  synonymous  terms.  A  careful  study  of  their 
-definitions  as  given  in  this  book  will  show  the  difference  plainly. 
Hence  in  this  work  the  word  tone  will  be  used  only  to  express  the 
modifications  of  a  color  by  its  being  lightened  in  tone  by  adding  white, 
•or  deepened  in  tone  bv  adding  black.  A  pure  color  cannot  go  out  of 
its  scale,  be  the  tone  ever  so  light  or  dark.  The  instant  it  leaves  its 
scale  it  becomes  a  hue  of  the  original  color,  not  a  tone. 

With  this  illustration  fully  fixed  in  the  mind  and  coupled  with 
the  illustration  of  a  hue  which  follows,  there  would  seem  to  be  no 
necessity  of  confusing  these  terms. 

The  careful  training  of  the  eye  to  distinguish  the  multitude  of 
tones  of  each  color  is  of  incalculable  value.  Every  possible  oppor- 
'tunity  should  be  improved  to  carefully  examine  works  of  art  and 
the  varied  colors  of  nature  in  order  to  perfect  the  eye  in  quickly 
grasping  and  comparing  the  tones  of  a  color. 

The  importance  of  fully  understanding  all  that  tone  implies,  and 
being  quick  to  perceive  differences  of  tone,  is  realized  by  but  few. 
Every  one  sees  that  by  combining  different  hues  or  colors  strong 
contrasts  are  secured,  but  only  the  artist  realizes  that  it  is  vastly  more 
important  that  the  tones  of  the  colors  used  shall  conform  to  the  rules 
of  harmony.  It  is  only  by  the  use  of  the  harmonious  contrast  of  tone 
that  the  soft,  delicate,  and  most  beautiful  expressions  in  color  can  be 
r secured. 


OOLOE 

Tone 

Hue 

Scale 


Hue. — The  hues  of  a  color  are  the  result  of  adding  in  increasing 
proportions  one  color  to  another.  Thus,  on  the  triangle  we  assume 
n*ed  to  be  a  pure  color,  while  each  color  along  the  side  toward  yellow 
is  a  hue  of  red,  made  a  hue,  and  moved  thus  further  from  red  by  the 
addition  of  yellow  in  ever  increasing  proportions  to  the  red,  until  the 
yellow  predominates,  at  which  point  it  ceases  to  be  a  hue  of  red  and 
'becomes  a  hue  of  yellow.  Thus  the  difference  between  tone  and  hue 
becomes  apparent,  as  the  hue  moves  along  the  side  of  the  triangle, 
changing  its  hue  by  adding  a  little  of  some  other  color,  while  tone  is 
'simply  a  lighter  or  darker  shade  of  the  same  color. 

Every  hue  of  a  color  may  have  just  as  full  a  scale  of  tones  as 
does  the  original  color,  by  adding  white  or  black.  A  color  is  always 
.a  hue  of  the  color  which  predominates  in  it.  Each  pure  color  may 
have  an  infinite  number  of  hues. 


21 


1 


COLOR 

Scale 


Scale. — The  scale  of  a  color  is  its  series  of  tones  from  deepest,, 
on  by  a  constant  grade,  to  its  lighest  tone.  Tliere  can  be  but  one 
scale  of  tone  for  a  given  color,  hut  just  as  many  scales  of  hues  as  it  is 
possible  to  make  hues  of  the  color.  Each  color  or  hue  has  its  own 
scale  from  which  it  cannot  depart.  The  scale  of  color  is  nicely  illus¬ 
trated  by  the  scale  of  tones  given  on  p:ige  20. 

A  scale  of  three  or  more  tones ‘of  a  color  will  frequently  be 
found  among  the  color  illustrations  in  the  latter  part  of  this  book.  In 
some  cases  the  tone  of  the  paper  will  make  one  of  the  tones  of  the 
scale.  Qiiite  a  scale  of  tones  of  color  is  often,  in  fact  usually,  seen 
in  a  fine  half-tone.  A  great  deal  of  the  beauty  of  a  half-tone  is  irt 
its  power  to  bring  out  a  great  variety  of  soft,  harmonious  tones. 


22 


i 


HARMONY  OF  COLORS. 


HE  harmony  of  colors  is  an  agreeable  effect 
produced  by  correctly  applying  the  laws 
governing  the  mixture  of  colors  for  the  retina 
of  the  e}  e. 

In  the  one  little  word  harmony  is  locked 
up  the  whole  secfet  of  successful  color  work. 
All  that  has  been  given  thus  far  is  simply  to 
make  plain  and  simple  the  laws  governing 
harmony.  It  is  harmony  we  strive  for  every¬ 
where,  always,  all  through  our  lives.  It  is  harmony  of  colors  in 
dress,  in  the  colors  of  decorations  and  furniture  in  our  homes  as  well 
.as  among  our  flowers.  It  is  harmony  of  type  faces,  colors  of  ink 
and  paper,  and  of  proportions  and  adaptability  to  subject  in  hand  in 
printing.  Hence  to  be  a  real  success  anywhere  it  is  vitally  important 
to  train  the  mind  and  eye  to  a  true  appreciation  of  the  harmoniously 
beautiful.  How  the  gaudy,  flashy  apparel  of  ignorance  often  offends 
•good  taste  and  violates  every  rule  of  harmony.  Ignorance  is  equally 
liable  to  violate  these  laws  at  every  step  in  printing  whether  it  be  in 
'One  or  more  colors.  It  is  vitally  important  that  sizes  of  type,  style  of 
■face  and  ornaments,  should  harmonize  as  well  as  the  colors  of  ink. 
There  are  laws  governing  each,  though  they  belong  largely  to  the 
unwritten  laws,  which  can  be  obtained  only  by  persistent  comparisons. 

The  eye,  ear,  and  mind  aie  wonderfully  susceptible  to  training. 
They  will  come  to  instinctively  act,  form  judgments  and  select  the 
best  almost  without  effort,  but  not  until  they  have  received  persistent, 
■constant,  unremitting  training.  Hence  it  is  urged  that  in  color  woi  k 
every  detail  influencing  harmony  be  fully  understood  and  stored  away 
in  memory’s  attic,  that  it  shall  be  ready  at  the  summons  of  mind  or 
eye  at  a  moment’s  notice. 

Harmony  of  colors  is  of  necessitv  a  somewhat  flexible  term,  cov¬ 
ering  as  it  does  the  whole  range  from  the  case  where  colors  being 
brought  close  together  just  escape  offending  the  eye,  to  those  beauti¬ 
ful,  soft  harmonies  which  the  eye  feasts  on  with  delight.  There  are 
-combinations  of  colors  which  are  not  only  disagreeable  but  really 
clause  involuntary  throbbing  of  the  optic  nerve.  Such  combinations 


23 


HAEMONY 

Eelated 

Colors 


are  not  harmonious.  Harmony,  in  its  various  grades  of  perfection,, 
is  accepted  to  mean  any  combination  not  offensive  to  the  trained  eye. 

The  minutest  detail  and  technique  of  the  science  of  color  mixing- 
must  be  mastered  ;  must  in  fact  become  as  one’s  A,  B,  C,  before  har¬ 
mony  in  all  its  many  variations  and  complexities  can  be  quickly 
grasped  and  made  of  service.  Only  the  artist  printer  w^ill  see  at  a- 
glance  the  reason  why  colors  are  or  are  not  harmonious. 

There  are  two  kinds  of  harmony.  Harmony  of  analogous  or 
related  colors,  and  harmony  of  contrasting  colors. 

Harmony  of  Related  or  Analogous  Colors. — Harmony  of' 
related  or  analogous  colors  is  the  result  of  viewing  simultaneously,  two 
or  more  related  colors,  that  is,  colors  each  of  which  have  some  one- 
color  which  is  common  to  all. 

Reference  to  the  triangle  will  show  that  yellow,  for  example,  is- 
found  in  varying  proportions  along  the  whole  side  of  the  triangle  fromi 
yellow  to  red,  and  from  yellow  to  blue,  hence  all  colors  lying  on 
.these  two  sides  are  related  to  yellow,  while  the  colors  on  the  third 
side,  having  no  yellow  in  their  composition,  are  not  related  to  yellow. 

This  relationship  of  each  of  the  primaries  to  all  colors  on  the  two* 
adjacent  sides  of  the  triangle  varies  in  strength  just  in  proportion  as 
the  hue  or  color  moves  near  or  far  from  the  primary. 

Here  again  is  seen  the  great  advantage  of  being  especially  famil¬ 
iar  with  the  triangle,  for  by  its  very  shape  it  forms  a  natural  divide, 
separating  and  illustrating  related  colors  as  could  be  done  in  no  other 
way.  It  cannot  be  urged  too  strongly  that  at  the  very  outset,  before 
attempting  to  do  color  work,  one  should  be  able  to  give  any  color  and 
hue  its  exact  position  on  the  triangle. 

In  order  to  treat  the  harmonies  so  simply  as  to  make  them  of 
practical  use  in  color  work,  it  is  necessary  to  subdivide  them  into 
their  natural  parts.  Harmony  of  related  or  analogous  colors  ma}r 
be  subdivided  as  follows  : — 

Harmony  by  gradation  of  tone  of  related  colors. 

Harmony  by  gradation  of  hue  of  related  colors. 

Harmony  by  gradation  of  a  dominant  color. 

Harmony  by  contrast  of  tone  of  related  colors. 

Harmony  by  contrast  of  hue  of  related  colors. 

Harmony  by  Gradation  of  Tone  of  Related  Colors  is  the- 
result  of  blending  into  each  other  two  or  more  of  the  adjacent  tones* 


24 


of  one  color.  Pleasing  results  always  follow  careful  use  of  this  har¬ 
mony,  as  it  is  soft,  not  obtrusive  and  is  universally  pleasing. 

Harmony  by  Gradation  of  Hue  of  Related  Colors  is  the 
result  of  blending  into  each  other  two  or  more  related  colors  or  hues, 
each  gradually  increasing  or  decreasing  in  hue,  but  of  the  same  inten¬ 
sity  of  tone.  The  rainbow  is  a  notable  example  of  this.  Strong, 
striking  and  brilliant  effects  can  be  secured  by  this  harmony. 

Harmony  by  Gradation  of  the  Dominant  Color  is  the  re-  ' 
suit  of  so  carefully  selecting  the  colors,  hues,  and  tones  used  that  some 
one  color  shall  so  predominate  as  to  give  the  impression  that  the 
whole  is  tinted  and  permeated  by  that  color.  By  this  harmony  can 
be  secured  those  peculiar  effects  which  attract  and  hold  the  eye  even 
of  the  indifferent.  It  is,  in  fact,  the  finished  expression  of  a  most 
complete  understanding,  not  only  of  the  laws  of  harmony  but  also  of 
their  practical  a^lication. 

Harmony  by  Contrast  of  Tone  of  Related  Colors  is  the 
result  of  using  two  distant  tones  of  one  color,  or  two  related  colors 
which  are  widely  different  in  tone.  It  will  be  seen  by  a  reference  to 
simultaneous  contrasts  that  in  contrasting  tones  of  related  colors  care 
must  be  taken  to  see  what  effect  simultaneous  contrasts  will  have. 
Colors  viewed  separately  and  then  side  by  side  appear  of  very  different 
tone.  This  is  contrast  of  tone.  Each  tone  will  be  moved  away 
from  the  other  as  far  as  possible.  Each  moving  about  the  same,  if 
the  tones  are  of  the  same  intensity,  but  if  a  light  and  a  dark  tone  are 
contrasted,  the  light  tone  is  affected  most. 

Contrast  of  tone,  which  is  essentially  the  key  to  a  truly  beau¬ 
tiful  combination  of  color,  is  too  often  entirely  ignored. 

Harmony  of  Contrast  of  Hue  of  Related  Colors  is  the 
result  of  using  two  or  more  colors  or  hues  which  are  somewhat  dis¬ 
tantly  related.  There  are  two  varieties  of  this  class  ; — 

When  the  hues  are  of  about  equal  intensity. 

When  one  hue  is  very  much  stronger  in  tone  than  the  other. 

The  two  and  three  color  illustrative  pages  will  furnish  exam¬ 
ples  of  these  different  harmonies  put  to  practical  use  in  ornamentation. 


HAEMONT 

Eelated 

Colors. 


25 


HARMONY  Harmony  of  Contrasting  Colors. — This  is  siniplv  harmony 

of  unrelated  colors,  or  those  colors  which  have  nothing  in  common 
in  their  composition  Hence  they  are  contrasting.  Contrasts  are 
not  necessarily  loud  or  harsh.  On  the  contrary  harmony  by  contrast 
is  often  the  best  and  most  beautiful  possible  expression  of  the  artist’s 
love  and  jov  in  his  work. 

Harmony  of  contrasting  colors  may  be  subdivided  as  follows  :  — 
Harmony  by  contrast  of  primary  colors, 

Harmony  by  contrast  of  complementary  colors. 

Harmony  by  contrast  of  hues  equal  in  intensity, 

Harmonv  by  contrast  of  hues  widely  different  in  intensitv. 
Harmony  by  contrast  of  black  with  other  colors. 


Harmony  by  Contrast  of  Primary  Colors  is  the  result  of 
viewing  simultaneously  any  of  the  primary  colors.  This  contrast  is 
clear  and  strong,  and  never  unpleasant,  as  the  colors  are  not  related. 
Contrast  of  the  primaries  is  more  or  less  pleasing  according  as  the 
operator  is  skilled  in  toning  down  the  colors  so  that  the  particular 
tone  in  hand  shall  not  be  too  glaring.  It  is  often  advisable  when 
using  one  of  the  primaries  in  a  full  color,  to  reduce  the  tone  of  the 
other  a  trifle  with  white,  this  will  add  greatly  to  the  smoothness  of 
the  result.  Whenever  it  is  the  purpose  to  secure  striking  results  that 
shall  especially  attract  the  eye,  harmony  of  contrast  with  at  least  one 
full,  strong  color  must  be  used.  Harmony  of  the  individual  colors 
will  be  treated  later  under  separate  colors. 

Harmony  by  Contrast  of  Complementary  Colors  is  the 
result  of  using  a  color  with  its  own  complementary.  This  is  the  best 
possible  contrast,  as  each  color  helps  make  the  other  more  full,  and 
strong  by  throwing  their  complementary  colors  upon  each  other.  If, 
Rs  in  the  illustration  of  the  initial  printed  in  blue  and  orange,  we 
place  side  by  side  these  colors  which  are  complementary,  the  orange 
calls  up  blue,  its  complementary,  which,  added  to  the  blue,  in  contrast 
makes  it  a  stronger  blue,  and  the  blue  in  a  like  manner  calls  up 
orange,  which,  added  to  the  original  orange,  makes  it  a  stronger 
orange.  Hence,  we  see  that  a  color  may  not,  in  fact  is  not,  the  same 
when  seen  alone  as  it  is  when  seen  side  by  side  with  another  color. 
In  harmony  by  contrast  of  complementaiY  colors  it  is  best  to  have  the 
colors  of  about  the  same  intensity  of  tone. 


Contrasting 

Colors 


2(3 


Harmony  by  Contrast  of  Hues  of  Equal  Intensity  is  the 
result  of  using  hues  of  unrelated  colors  which  are  of  nearly  the  same 
intensity  of  tone.  These  harmonies  are  not  apt  to  be  as  soft  and 
subtle  as  those  secured  with  contrast  of  tone. 

Harmony  by  Contrast  of  Hues  which  are  Widely  Differ¬ 
ent  in  Tone  is  the  result,  of  using  a  light  tone  of  one  hue 
and  a  dark  tone  of  another.  This  harmony  gives  more  subdued  and 
harmonious  results  than  contrast  of  full,  glaring  colors.  This  is 
harmony  of  the  tone  of  hues,  and  is  especially  valuable. 

Harmony  by  Contrast  of  Black  with  Other  Colors  is 
well  worth  careful  study.  Black  is  so  commonly  used  that  it  is  im¬ 
portant  to  secure  all  possible  information  concerning  its  actions  under 
different  conditions.  The  too  common  belief  prevails  that  black  can 
be  used  anywhere  regardless  of  its  surroundings.  To  illustrate  :  when 
the  somber  color,  deep,  blue,  is  brought  into  juxtaposition  with  black 
the  blue  throws  its  complementary,  orange,  upon  the  black  causing  it 
to  appear  dull,  rusty,  and  weak.  The  ignorance  of  the  law  of  simul¬ 
taneous  contrast  and  its  effects,  and  the  inability  to  remedy  the  diffi¬ 
culty,  has  caused  many  a  good  printer  trouble  and  perplexity.  If 
orange  be  placed  in  contrast  with  black  it  adds  to  the  black  its  com¬ 
plementary,  blue,  which  gives  the  black  a  beautiful,  deep,  lustrous 
color.  If  a  black  must  be  used  near  a  cold  color  and  that  color  injures 
the  black,  add  to  the  black  ink  a  little  blue  ”or  the  necessaiy  color  to 
counteract  the  simultaneous  contrast.  It  may  be  best  also  to  change 
the  tone  of  the  cold  color  by  adding  white. 

Black  placed  between  two  luminous  colors  always  has  a  good 
effect,  causing  the  colors  to  be  more  bright  by  its  sedantary  effect  upon 
the  eye.  It  is  also  useful  in  separating  colors  which  would  not  har¬ 
monize  well,  often  giving  better  results  even  than  white  or  grey  for 
this  purpose.  The  effect  is  not  as  pleasing  when  black  is  placed 
between  a  luminous  and  a  somber  color.  Avoid  using  black  with 
the  cold  colors,  as  it  gives  too  somber  effects  except  when  used  with 
the  light  tones.  In  harmony  with  black  the  colors  should  be  worked 
full  if  warm,  and  light  tones  if  of  the  cold  colors. 

The  tone  of  a  color  in  contrast  with  black  is  slightly  lowered. 
Black  reffects  about  four  per  cent  of  white  light,  which  tends  to 
reduce  the  tone  of  the  color  adjacent.  A  most  forceful  illustration  of 
this  is  seen  in  the  illustration  given  on  page  i8  whei*e,  while  all 


HARMONY 

Contrasting 

Colors 

Black 


27 


HAEMONY 

Contrasting 

Colors 

White 


three  figures  were  printed  with  one  ink  and  at  one  impression,  yet 
the  figure  surrounded  by  black  appears  much  lighter  than  the  one 
surrounded  by  white. 

Black  is  considered  the  complementary  color  of  white.  This 
contrast  is  the  lowest  in  complication  and  the  highest  in  effect.  Black 
produces  harmony  of  analogy  with  the  somber  colors ;  with  the 
luminous  colors  it  is  harmony  of  contrast.  lly  contrast  of  tone,  if  a 
dark  and  light  color  are  combined,  the  dark  color  becomes  darker 
and  the  light  color  lighter.  Thus  we  see  an  illustration  of  the  fact 
that  when  two  colors  are  in  juxtaposition  the  tendency  is  to  look  as 
dissimilar  as  possible. 

A  very  common  error  is  found  in  the  belief  that  any  red  will  look 
well  with  black.  A  purple  red  or  rose  lake  red  always  gives  a 
poor,  unpleasant  result  when  used  with  black.  A  brilliant  or 
orange  red  will  give  far  superior  efi'ects.  Black,  which  to  the  printer 
is  essentially  a  color,  is  the  most  useful  in  contrast  and  shade.  It 
mixes  but  poorly  v/ith  any  of  the  other  colors,  but  best  with  blue,  or 
with  white  to  form  neutral  greys. 

Examples  of  these  various  harmonies  are  shown  in  the  latter 
part  of  this  book.  A  careful  study  of  tl  ese  illustrations  will  richly 
repay  the  effort,  as  it  will  train  the  eye  to  instantly  recognize  each 
variety  of  harmony,  and  will  also  afford  a  good  opportunity  for 
deciding  which  harmonies  give  the  best  and  most  agreeable  results. 
The  examples  give  true  representations  of  the  diffeient  combinations 
of  colors,  whether  the  result  be  good  or  bad.  They  also  contain  fine 
illustrations  of  the  different  laws  of  color. 


White  to  the  printer  is  essentially  an  advancing  color.  It  re¬ 
flects  all  the  rays  of  white  light.  It  advances  and  makes  any  color 
with  which  it  is  mixed,  more  prominent,  increasing  its  purity  and 
deepening  its  tone. 

Too  often  the  importance  of  white  space  is  underestimated  in 
arranging  a  page  which  would  have  been  very  attractive  had  the  light 
been  let  in  freely.  Too  much  stress  cannot  be  placed  on  the  impor¬ 
tance  of  using  white  space  freely  and  judiciously  in  all  tasty  printing. 
White  serves  many  purposes  on  the  printed  page.  It  separates  colors 
which  otherwise  would  be  unharmonious.  It  is  the  complementary 
color  for  black,  hence  it  gives  contrast  and  life  when  used  in  suffl- 
ciently  large  quantities  to  illuminate  the  work. 

There  is  a  simultaneous  contrast  though  not  as  pronounced  as 
when  the  contrast  is  between  two  other  colors.  For  instance  if  you 


28 


look  intently  at  the  full  red  figure  on  page  36  you  will  see  that  the 
white  around  the  red  figure  is  tinted  slightly  with  a  green  halo,  which 
is  the  complement  of  red,  also  the  red  is  a  stronger,  brighter  red  than 
it  would  have  been  if  printed  on  a  grey  or  black  ground.  This  also  is 
clearly  illustrated  on  page  18.  This  illustration  is  referred  to  for  the 
reason  that  so  many  printers  fail  to  realize  the  great  importance  of 
white  space,  and  no  thinking  man  can  study  this  illustration  without 
becoming  wiser,  and  realizing  something  of  the  power  wielded  even 
by  white. 

Red  is  pre-eminent  among  colors,  being  flashy,  positive,  bright, 
and  powerful,  and  is  most  used  of  all  colors  except  black. 

Red  enters  largely  into  the  broken  colors,  being  the  ruling  color 
in  russet,  and  is  subordinate  in  citron  and  olive.  It  also  enters  quite 
largely  into  maroon,  the  browns,  greys,  etc. 

Red  gives  of  its  warmth  to  all  colors,  but  most  to  yellow.  It  is 
warm  and  advancing  when  mixed  with  yellow  but  it  becomes 
cold  when  combined  with  any  considerable  quantity  of  blue.  It 
is  warm  when  viewed  by  a  strong  light  but  deepens  rapidly  in  a  declin¬ 
ing  light.  It  contrasts  with  white  better  than  with  black  or  grey. 

Red  is  a  luminous  color  much  sought  after  because  of  its  wide 
field  of  usefulness.  It  is  bright,  strong,  and  attractive,  and  gives  good 
results  either  when  used  at  its  fullest  intensity  or  in  any  of  its  many 
hues  and  tones,  even  down  to  its  delicate  tints. 

Red  and  green  give  the  best  harmony,  being  complementary.  If 
the  red  is  pure  the  green  should  lean  somewhat  toward  the  blue.  An 
optical  test  such  as  is  given  for  testing  complementary  colors  will 
readily  show  just  the  hue  necessary.  Soft  and  efiective  results  are 
obtained  also  by  combining  the  various  light  tones  of  green  with  red. 
Red  and  yellow  harmonize  fairly  well  but  can  be  improved  by  select¬ 
ing  a  red  inclined  toward  violet  and  a  yellow  which  is  somewhat  of  a 
greenish  cast.  Red  and  blue  also  are  more  harmonious  if  moved  a 
little  way  from  each  other  on  the  triangle. 

Red  with  white  is  deeper,  purer,  less  bright. 

Red  with  grey  becomes  brighter. 

Red  with  black  becomes  brighter,  but  changes  hue. 

Red  and  orange  give  poor  effects,  in  fact,  they  injure  each  other. 
Red  and  violet  are  not  satisfactory,  but  if  they  must  be  brought  into 
juxtaposition  they  should  be  separated  by  white  or  black.  If  red  is 
to  be  combined  with  the  broken  colors  it  gives  the  strongest  results 
with  those  hues  lying  between  blue  and  yellow.  Use  as  little  of 
red  as  consistent  with  good  results.  Just  a  touch  here  and  there  of 


HAEMONY 

White 

Red 


29 


HAEMONY 

Yellow 

Blue 


ornament,  initial  letter,  underscore,  or  border,  is  sufficient  to  add  life 
and  brightness  to  the  page.  Do  not  have  the  red  predominate,  for  if 
it  does  it  will  weaken  instead  of  enrich  the  effect.  When  choosing 
colors  take  those  lying  just  as  far  apart  as  possible  on  the  triangle. 

Red  is  admissible  in  very  small  quantities  even  on  a  title  page, 
but  it  must  be  used  on  the  principle  of  touch  but  handle  not.  A 
glance  at  the'color  illustrations,  comparing  a  page  in  which  red  pre¬ 
dominates  with  one  where  a  cold  color  is  siinply  brightened  with  a 
touch  of  red  will  make  this  point  self-evident. 


Yellow  is  the  primary  nearest  to  white  in  luminosity  hence  it  is 
a  most  advancing  color.  It  has  great  power  to  reflect  light.  Its 
effects  are  flashy,  gay,  luminous,  cheerful,  and  in  large  surfaces  irritat¬ 
ing.  In  a  dim  light  yellow  is  almost  wholly  lost,  but  it  is  weakened 
by  distance  less  than  any  other  color  except  red.  Next  to  white, 
yellow  contrasts  black  most  powerfully.  When  yellow  is  used  with 
any  of  the  dark  colors  the  contrast  will  be  too  great  unless  the  dark 
color  is  somewhat  reduced  with  white. 

Yellow  with  white  is  deeper  and  less  advancing. 

Yellow  with  grey  is  brighter, 

Yellow  with  black  is  paler  and  brighter. 

Yellow  contrasts  fairly  well  with  the  primaries,  but  is  improved 
if  they  are  moved  a  trifle  away  from  each  other  on  the  triangle.  j^Its 
strongest,  purest  contrast  is  with  violet,  and  it  gives  a  most  harmoni¬ 
ous  result  if  the  violet  is  a  medium  light  tone.  Yellow  and  orange 
give  good  harmony  by  gradation  when  proper  tones  are  used.  Yellow 
and  green  can  be  used  together  if  the  colors  are  chosen  as  far  apart  as 
possible,  and  good  judgment  used  in  selecting  tones  and  hues. 
When  full  colors  are  to  be  used  with  yellow  choose  light  tones  of 
those  hues  lying  between  red  and  blue,  as  these  hues,  not  being  related 
to  yellow,  will  give  harmony  of  contrast  that  will  be  agreeable. 

Blue  being  the  cold  primary,  any  color  in  which  blue  predomi¬ 
nates  is  cold. 

Blue  with  white  is  deepened, 

Blue  with  grey  is  purified. 

Blue  with  black  defiles  and  is  not  agreeable. 

It  should  be  used  only  with  warm  colors.  It  contrasts  well  with 
light  tones  of  red,  and  is  good  with  yellow.  Its  best  contrast  is  with 
orange,  its  complementary  color.  It  can  often  be  used*  with  light 
tones  of  green  to  advantage. 


30 


Blue  and  purple,  or  any  colors  lying  between  them,  do  not  har-  HARMONY 
monize.  When  using  a  full  color,  choose  its  contrast  from  between 
red  and  yellow  and  the  result  will  be  good. 

Blue  may  be  made  the  ruling  color  in  almost  any  harmonious 
combination ;  occurring  more  often  in  combination  or  alone,  than 
either  of  the  other  primaries.  Blue  is  often  added  to  black  to  give 
it  more  life  and  brilliancy.  It  often  gives  better  effects  to  use  a  deep 
or  bronze  blue,  instead  of  black  for  the  dominant  color,  as  it  gives  a 
more  clear,  brilliant  appearance. 

Orange  is  the  most  luminous  of  the  secondary  colors,  being 
formed  by  the  combining  of  the  two  luminous  primaries  ;  hence  it  can 
never  be  a  cold  color.  Blue  is  the  complementary  of  orange,  hence 
its  best  contrast.  Orange  gives  good  contrasts  with  all  colors  between 
green  and  violet. 

Orange  with  white  is  deepened  and  leans  toward  red. 

Orange  with  grey  is  deepened  and  reddened. 

Orange  with  black  is  brighter  and  somewhat  yellow. 

The  contrast  is  better  between  orange  and  green  than  between 
orange  and  violet ;  when  combined  wdth  these  secondaries,  move  them 
as  far  from  each  other  as  possible.  The  result  of  using  orange  and 
red  is  very  poor,  but  orange  and  yellow  give  better  results.  In 
harmonies  of  analogy  of  tone  and  hue,  orange  will  be  found  very 
useful,  especially  where  the  ruling  color  is  blue  and  light  tones  of 
warm  colors  are  needed  to  add  life  and  warmth  to  the  work. 

Green  is  the  most  soothing,  yet  effective  and  striking  of  the  sec¬ 
ondary  colors.  It  is  the  most  useful  secondary  in  contrasting  colors, 
as  if  is  the  complement  of  red,  which  constantly  brings  it  into  use  in 
ever  varying  tone  and  hue.  Its  light  tones  are  most  restful  to  the 
eye,  and  give  exceptionally  fine  results.  Green  in  its  infinite  variety 
of  sh’ades  is  nature’s  color  for  foliage,  while  its  complementary,  red,, 
is  the  most  common  in  the  flowers.  This  hint  from  nature  is  a  good 
one  to  follow  in  proportions,  much  of  the  green,  and  touches  here  and 
there  of  the  beautiful  red  flowers  to  give  life  and  vigor. 

It  is  not  as  useful  in  compounding  colors,  being  more  apt  to  defile 
the  combination.  Green  gives  its  best  results  of  contrast  when  used 
with  colors  lying  between  violet  and  orange. 

Green  with  white  is  deepened  and  made  purer. 

Green  with  grey  becomes  of  bluish  tint. 

Green  with  black  brighter  and  paler. 


Orange 

G-reen 


31 


HAEMONY 

Violet 

Normal  G-rey 
Colored  Grey 


Violet  lies  between  reel  and  blue,  and  its  light  tones  are  warm 
while  its  deep  tones  are  cold.  It  contrasts  best  with  its  complementary 
color,  yellow.  In  fact,  it  is  noticeable  that  in  all  harmonies  of  con¬ 
trast,  whatever  the  color,  the  very  best  possible  contrast  is  between 
the  color  and  its  complementary,  or  those  colors  slightly  reduced  with 
white.  A  very  smooth  result  is  secured  by  contrasting  a  color  with 
a  grey,  \yhich  is  tinted  with  the  complementary  of  the  first  color, 
thus  making  it  more  brilliant. 

Violet  with  wdiite  gives  great  contrast, 

Violet  with  grey  is  made  stionger, 

Violet  with  black  injures  the  black,  making  it  rusty. 

Violet’s  best  contrasts  lie  with  those  colors  between  orange  and 
green.  Violet  is  useful  in  adding  novelty  and  striking  results  to  tine 
work  by  dropping  in  just  a  touch  to  give  tone  and  expression  to  the 
work. 

Neutral  Grey  is  white  to  which  just  sufficient  black  has  been 
added  to  give  a  grey  tint.  Its  held  of  usefulness  is  almost  unlimited, 
but  its  most  valued  service  is  in  aiding  to  secure  those  soft,  blending 
harmonies  which  can  be  produced  only  by  means  of  colors  which 
have  been  softened  in  tone. 

Coi.ORED  Greys  are  the  result  of  adding  a  sufficient  quantity 
of  a  primary  or  secondary  to  a  grey  to  tint  it  the  color  added. 

Grey  is  never  tinted  a  warm  color  but  with  some  color  in  which 
blue  predominates,  hence  it  is  especially  adapted  to  make  prominent 
warm  colors,  and  at  the  same  time  affords  rest  to  the  eye.  Its  best 
combinations  are  with  light,  advancing  colors,  and  it  is  very  \  aluable 
especially  in  smooth  and  harmonious  work  for  backgrounds,  for  initial 
letters,  panels,  etc.  It  gives  a  kind,  harmonious  setting  for  striking 
colors,  when  the  contrast  with  white  would  be  too  great. 

The  full  primary  colors  are  made  stronger  and  fuller  if  on  a  col¬ 
ored  grey  ground  properly  tinted  with  their  complementary.  In 
three-color  combinations  grey  plays  a  large  part,  especially  colored 
greys,  for,  being  between  white  and  black,  when  tinted  it  tends,  to 
bring  all  colors  out  at  their  true  intensity. 

There  is  almost  no  limit  to  the  list  of  colors  which  might  be  giv¬ 
en,  as  in  the  following  list,  showing  what  degrees  of  harmonv  can  be 
expected  when  the  given  colors  are  used  side  by  side.  A  few  of  the 
most  common  colors  only  are  given,  making  no  attempt  at  an  exhaus¬ 
tive  list,  as  names  of  colors  are  so  flexible  and  meaningless  that  at 
best  these  results  can  only  serve  as  a  hint  or  suggestion. 


32 


Red  with  Yellow 

Poor 

HAEMONY 

Red  with  Blue 

Fail- 

Two-color 

Red  with  Green 

Good  but  hard 

Combinations 

Red  with  Yellow-Green 

Good  but  hard 

Red  with  Blue-Green 

Excellent 

Red  with  Green-Yellow 

Fail- 

Red  with  Violet 

Poor 

Red  with  Purple 

Passable 

Red  with  Orange 

Pool- 

Red  with*  Green-Grey 

Excellent 

Scarlet  with  Green- Yellow 

Strong 

Yellow  with  Blue 

Good 

Yellow  with  Violet 

Excellent 

Yellow  with  Indigo 

Good 

Yellow  with  Purple 

Good 

Yellow  with  Green 

Passable 

Yellow  with  Orange 

Poor 

Yellow  with  Blue-Green  . 

Fair 

Yellow  with  Blue-Grey 

Excellent 

Blue  with  Green 

^  .  .  Pool- 

Blue  with  Orange 

Excellent 

Blue-Green  with  Purple 

Fair 

Blue-Green  with  Crimson 

Fail- 

Blue-Green  with  Violet 

Good 

Blue-Green  with  Orange-Red 

Good 

Orange  with  Green 

.  Pooi- 

Orange  with  Violet 

Fair 

Orange  with  Purple 

Poor 

Orange-Red  with  Yellow-Green 

Fair 

Orange  with  Blue-Grey 

Excellent 

Green  with  Orange-Red 

Hard 

Green  with  Scarlet 

Difficult 

Green  with  Purple 

Strong  but  hard 

Green  with  Violet 

Fair 

Yellow-Green  with  Blue 

Fair 

Violet  with  Orange-Red 

Fair 

Violet  with  Orange- Yellow 

Excellent 

Violet  with  Green-Yellow 

Excellent 

Violet  with  Blue-Green 

Good 

Violet  with  Purple 

.  Pool- 

Violet  with  Indigo 

Poor 

HAEMONY 

Three-Color 

Oomhinations 


Below  is  given  a  few  three-color  combinations  which  give  good 
results.  Usually  two  out  of  the  three  should  be  warm  colors,  but 
one  full  color  being  used,  reducing  the  others  somewhat  with  white. 
Bronze  can  often  be  added  to  these  or  be  used  in  place  of  one  of  the 
"light  colors. 


r  Red 
}  Yellow 
I  Blue 

C  Orange 
}  Green 
(  Violet 


Yellow-Green 

Rose-Grey 

Puce 

’^'ellow-Green 

Salmon 

Violet 


Cream 
Amber 
Deep  Blue 


Green- Blue 

Yellow 

Scarlet 


C  Red 
}  Blue 
Gold 


r  Orange -Red 
-  Blue 

y  Olive-Green 


Turquoise 

Orange 

Green 


Maroon 
Terra  Cotta 
Sage  Green 


Yellow-Green 

Violet 

O  ra  nge- Y  el  low 


r  Blue 
}  Amber 
y  Crimson 


In  a  great  majority  of  the  above  contrasts  the  result  will  be  much 
more  smooth  and  pleasing  if  one  of  the  colors  is  reduced  with  white 
to  a  half  tone,  or  tint,  or  even  if  changed  to  a  colored  grey.  In  fact, 
in  case  of  strong,  hard  contrasts,  this  is  generally  advisable. 


Harmony  of  colors  has  been  defined  as  the  result  of  correctly 
applying  the  laws  governing  the  mixing  of  colors  so  as  to  produce 
the  correct  sensation  on  the  retina  of  the  eye.  It  is,  then,  a  self-evident 
fact  that  to  be  a  successful  color  printer  one  must  at  the  very  outset 
become  familiar  with  the  science  of  color  mixing  from  its  birth,  when 
white  light  is  broken  up  into  colors  by  the  prism  or  absorption,  down 
through  all  the  successive  stages  to  the  blending  of  the  colors  on  the 
printed  page  or  on  the  retina  of  the  eye. 


34 


OPTICAL  ILLUSIONS 


Cover  all  the  figures  except  the  one  to  be  studied,  then 
look  steadil}^  at  it  for  a  moment  or  more,  when  upon  look¬ 
ing  at  a  white  surface  you  will  see  a  pale  tint  which  is  the 
complementary  of  the  color  viewed. 


Look  at  the  shield  in  the  same  manner  as  is  described 
above  and  on  looking  at  a  white  surface  you  will  see  the 
same  shield  in  a  tint  with  the  colors  reversed. 


COLOR  MODIFIED. 


T  has  often  been  noticed  by  every  observing- 
person  that  the  same  object  may,  and  in  fact 
does,  appear  of  a  different  color  or  tone 
under  varying  conditions  and  when  viewed 
by  lights  of  uneven  intensity.  These  and 
other  influences  which  are  ever  present 
constantly  cause  objects  to  appear  widely 
different  in  color  from  what  they  would  if 
protected  from  outside  influence.  In  the 
following  pages  some  of  the  causes  which  modify  colors  will  be 
pointed  out  and  explained. 

The  fact  that  each  color  vibrates  a  certain  number  of  times  a 
second  has  already  been  mentioned.  This  different  length  of  vibra¬ 
tion  of  each  of  the  colors  has  proven  to  be  of  great  value  in  many 
ways.  Scientists  have  recently  come  to  calculate  and  measure  and 
ascertain  facts  in  astronomy  heretofore  beyond  the  reach  of  man  by 
the  aid  of  these  fixed  laws  of  vibration  of  color  rays.  Photography 
in  colors  true  to  nature  is  also  made  possible  by  the  application  of  the 
wave  theory.  Harmony  or  discord  is  also  due  to  this. 

The  Dust  in  the  Air. — Very  few  people,  of  the  multitude 
who  so  thoroughly  enjoy  the  grandeur  and  beauty  of  the  ever  shifting 
colors  of  a  sunrise  or  sunset,  have  any  conception  of  how  those  colors 
are  made  possible.  It  is  but  recently  that  careful  experiment  has 
conclusively  proven  that  all  the  colors  of  cloud,  sky,  and  ocean  are 
due  to  the  very  fine  dust  which  floats  in  the  air  reflecting  the  diflerent 
colors.  Everyone  has  seen  the  dust  in  the  path  of  a  sunbeam  in  a 
somewhat  darkened  room,  but  few  know  of  what  great  service  this 
dust  is. 

The  coarser,  heavier  particles  of  dust  remain  near  the  earth’s  sur¬ 
face,  while  only  the  minutest  particles  rise  to  great  heights  in  the  rare 
atmosphere  a  mile  or  more  above.  The  sky  overhead  is  quite  blue, 
simply  because  the  very  fine  dust  reflects  only  the  short,  rapid,*  blue 


37 


COLOE 

Modified 

Dust 

Clouds 


waves  of  light,  but  as  the  sun  reaches  the  horizon,  its  rays  pass 
through  much  more  of  the  air,  near  the  earth,  which  contains  all  sizes 
of  dust,  but  most  of  the  larger  particles  and  thus  reflects  all  colors, 
giving  yellow  or  white  light. 

It  is  a  well  recognized  fact  that  in  the  spring  the  skv  is  intensely 
blue,  while  in  the  autumn  it  is  yellow.  This  is  because  during  the 
winter  the  snow  and  rain  have  cleared  the  air  of  much  more  dust  than 
has  returned  from  the  frozen  earth, — hence  the  clear  air  gives  a  blue 
sky,  but  by  autumn  the  air  is  again  so  heavily  charged  with  dust  as  to 
give  a  yellow  hue  to  sky,  cloud,  and  mountain.  This  fact  has  been 
proven  by  passing  a  ray  of  light  through  air  confined  in  a  glass  globe 
from  which  all  dust  had  been  burned  ;  the  ray  of  light  seemed  black 
as  it  met  nothing  to  reflect  or  refract  it,  but  when  the  glass  globe  was 
filled  with  common  air  it  became  illumined  like  an  electric  lamp. 

It  is  then  apparent  thal  if  our  air  were  free  from  dust  we  should 
have  no  diffused  light, — that  is,  light  would  be  visible  onlv  as  it  was 
intercepted  by  some  substance  able  to  reflect  it.  The  stars  would  be 
visible  day  and  night.  Our  houses  would  get  sunlight  only  where 
the  direct  rays  of  the  sun  fell  or  were  reflected,  making  it  necessary 
to  build  the  walls  of  windows  or  reflectors,  as  all  would  be  dark  out 
of  the  direct  rays,  or  in  the  shadows. 

Were  it  not  for  this  fine  dust,  steam  or  clouds  would  not  be  visible, 
and  all  our  beautiful  colors  of  gold-lined  clouds  at  sunset  would  dis¬ 
appear.  The  moisture  in  the  air  must  have  something  for  a  nucleus 
on  which  to  form,  and  experiment  proves  that  air  without  dust  can 
have  no  clouds.  The  immeasurable  importance  of  even  the  little  trifles 
of  life  is  wonderfully  illustrated  by  the  many  and  valuable  offices  this 
despised  dust,  so  small  many  times  that  it  is  invisible,  plays  in  the 
economy  of  nature. 

It  is  the  important  little  things  in  color  printing  which  make  up 
perfect  work.  Dust  gives  us  the  most  valuable  difllised  light,  the 
glories  of  the  colors  of  sky,  mountain,  ocean,  and  nature’s  scenery,  and 
in  fact,  but  for  the  dust  in  our  air,  it  is  a  serious  question  if  either 
animal  or  vegetable  life  could  be  long  sustained  upon  the  earth.  This 
is  one  more  illustration  that  the  colors  of  objects  are  not  what  they 
seem. 


The  Normae  and  the  Color-blind  Eye. — The  person  called 
color-blind  has  a  complete  sense  of  shade,  tone,  and  hue  of  color, 
but  his  eye,  not  having  the  same  nei  ves  as  the  normal  eye,  receives  an 
entirely  different  sensation  of  color  from  waves  of  light.  The  term 
■color-blind  is,  then,  in  a  sense,  a  misnomer.  There  are  in  the  normal 


eye  three  nerves  ready  to  receive  all  light  waves  and  carry  the  impres¬ 
sion  to  the  brain,  each  nerve  carrying  a  different  color  sensation. 
One  nerve  carrying  principally  red  sensations,  the  second  carrying 
-green  and  the  third  violet. 

The  red  nerve  is  excited  most  by  viewing  the  red  end  of  the  spec¬ 
trum,  and  grows  gradually  less  down  through  orange,  yellow,  green, 
blue,  and  violet.  The  same  principle  is  true  of  the  other  two  nerves, 
showing  that  there  is  more  or  less  of  the  three  primary  colors  present 
in  every  color.  When  a  strong,  red  light  falls  upon  the  eye  the  red 
nerve  is  powerfully  affected,  the  green  and  violet  only  slightly.  This 
has  its  bearing  on  simultaneous  contrasts,  which  will  be  treated  later. 

These  nerves  carry  the  color  sensation,  however  they  may  be 
-excited,  whether  by  light,  a  blow,  or  electricity .^  When  light  waves 
fall  upon  th^se  nerves  the  waves  are  separated  into  their  primarv 
colors.  If,  for  instance,  it  is  a  wave  of  white  light,  then  it  consists  of 
equal  parts  of  the  primaries,  which  being  separated  are  taken  by  the 
respective  nerves  to  the  brain,  where  the  colored  waves  reunite,  giving 
the  impression  of  white.  If  the  three  nerves  are  not  equally  excited, 
then  the  result  on  the  brain  is  a  color  resulting  from  an  unequal 
mixture. 

If  one  of  these  nerves,  say  red,  be  missing  from  an  eye,  that  eye 
is  called  color-blind  because  it  fails  to  see  red.  In  this  case  the  green 
and  Violet  nerves  give  a  complete  set  of  colors,  but  very  different  from 
the  normal  vision.  If  green  blind,  the  green  nerve  is  missing  To 
the  green  blind  the  spectrum  is  made  up  of  red  and  violet  with  all 
tiieir  tones  and  hues.  These  colors  are  seen  with  a  degree  of  clear¬ 
ness  and  strength  impossible  to  the  normal  eye.  I'he  color-blind 
person  lives  in  a  world  which  the  normal  vision  cannot  enter.  All 
nature  takes  on  a  different  hue.  To  the  green  blind,  the  landscape  is 
of  a  beautiful  rose  hue  ;  to  the  red  blind,  it  is  all  tinted  sea  green. 

4^  *  4^ 

Thus  it  is  seen  at  the  outset  that  color  is  not  wholly  in  the  object 
viewed.  Colors,  with  their  numberless  varieties  of  combinations  and 
harmonies,  are  to  the  eve  what  music,  in  all  its  beauty  and  grandeur, 
is  to  the  ear.  The  eye  is  as  keenly  alive  to  every  chord  or  discord 
in  color,  as  the  ear  is  to  the  same  in  music.  In  fact,  the  eye,  with 
the  workings  of  its  delicate  nerves,  is  no  small  factor  to  be  considered 
in  choosing  colors  for  harmonious  use.  The  three  nerves  in  the  eve 
which  receive  and  carry  to  the  brain  the  waves  of  light  and  all  color 
sensations,  are  governed  by  laws  which  must  be  understood  if  suc¬ 
cessful  blending  of  colors  is  to  be  done. 


OOLOE 

Modified 

normal  and 
Color-blind 
Eye 


OOLOE 

Modified 

Patigue 
of  the 
Eye 


The  real  color  reflected  by  an  object  does  not  change,  yet  it  may 
appear  to  the  eye  widely  difl'erent  in  color  when  viewed  under 
varying  circumstances.  This  can  be  fully  verified  by  a  look  at  the 
illustration  where  the  orange  initial  is  used.  If  you  look  steadily  at 
the  orange  initial  letter  for  a  moment  or  more,  and  then  turn  yonr  eye 
for  a  little  upon  a  perfectly  white  sheet,  you  will  see  on  the  white 
paper  a  blue  tint  just  the  same  shape  of  the  orange  square. 

This  is  caused  partially  by  fatigue  of  the  eye,  for  when  the  eye 
becomes  weary  it  calls  up  the  complementary  color  to  relieve  the 
strain.  Simple  as  it  may  seem,  fatigue  of  the  eye  is  responsible  for 
many  otherwise  puzzling  surprises  in  color  work.  Another  factor  in 
the  eye  giving  the  complementary  color  (for  fatigue  cannot  be  respon¬ 
sible  for  all  of  it)  is  that  colors  are  never  pure,  always  reflecting 
some  of  all  three  primaries ;  a  red  object  reflects  so  much  of  red  that 
we  do  not  realize  that  it  reflects  any  other  color,  until  turning  the  eyes 
away  and  letting  them  rest  on  white,  we  see  that  it  did  reflect  suffi¬ 
cient  yellow  and  blue  to  mix  in  the  eye  and  form  green,  which  with 
the  fatigue  gave  the  green  object.  You  have  by  this  test  proven  for 
yourself  what  is  the  complement  of  orange.  In  like  manner  the  com¬ 
plementary  of  any  color  can  be  obtained  with  peifect  accuracy. 

If  you  look  steadily  at  one  color  for  a  long  time,  or  what  is  the 
same  thing,  at  several  cards  all  the  same  tone,  one  after  the  other,  the 
tone  will  be  perceptibly  dulled,  so  that  the  last  card  will  appear  much 
duller  than  the  first.  This  is  also  caused,  as  in  the  last  experiment, 
by  the  eye  becoming  so  weary  that  it  throws  some  of  the  comple¬ 
mentary  upon  the  card,  which  mixing  with  the  unseen  colors  in  the 
eye  and  a  little  of  the  color  of  the  card  gives  black  or  grey,  and  that 
being  added  to  the  first  color  darkens  its  apparent  tone. 

Thus  we  see  that  it  is  just  as  essential  to  understand  the  mixing 
of  colors  in  the  eye  as  on  the  ink  slab,  for  it  is  this  optical  effect  that 
governs  harmony.  In  choosing  colors  to  be  used  side  by  side,  it  is 
necessary  to  know  just  how  the  peculiar  mechanism  of  the  eye  will 
afl'ect  them. 

Simultaneous  Contrasts. — When  two  colors  are  placed  side 
by  side,  the  eye,  in  the  same  manner  as  above,  throws  the  comple¬ 
ment  of  one  upon  the  other,  thus  making  it  either  stronger  or  weaker, 
both  in  color  and  tone,  according  as  the  colors  are  harmonious  or  not. 
For  example:  take  the  two  complementary  colors  red  and  green  as 


40 


shown  in  the  shield  on  page  36,  and  by  looking  simultaneously  at  OOLOEi 
them  for  a  little  the  red  will  cause  the  eye  (by  the  law  of  comple-  Modified 
mentary  fatigue  of  the  eye)  to  see  green,  which  being  added  to  the  Simultaneous 
green  beside  the  red,  causes  it  to  appear  brighter  and  stronger;  in  the  Contrasts 
same  manner  the  green  calls  up  its  complementary,  red,  which  being 
added  to  the  original  red  causes  it  to  seem  stronger  than  it  really  is. 

This  is  simultaneous  contrast.  It  is  also  nicely  illustrated  in  the  two-* 
color  initials  in  the  illustrative  pages. 

Thus  it  is  readily  seen  that  contrast  of  complementary  colors  is 
the  best  of  all  contrasts,  because  when  placed  side  by  side  they 
mutually  strengthen  and  brighten  eacn  other.  It  will  be  just  as  ap¬ 
parent  from  the  following  example,  that  colors  not  harmoniously 
placed  will  injure  each  other  and  offend  the  eye. 

If  blue  and  violet  be  placed  side  by  side,  blue  would  throw  its 
complementary,  orange,  upon  the  violet,  causing  it  to  appear  purple- 
violet,  while  the  violet  would  throw  its  complementary,  yellow,  upon 
the  blue,  causing  it  to  appear  greenish  blue,  weakening  the  purity  of 
both  colors.  In  this  case  neither  color  will  appear  of  its  real  purity 
or  intensity  ;  yet  by  this  simultaneous  contrast  the  inferior  contrast  is 
helped  in  one  way,  as  by  adding  complementaries  the  colors  always 
appear  just  as  dissimilar  as  possible,  that  is,  just  as  far  apart  on  the 
triangle  as  possible. 

This,  then,  is  the  law  of  simultaneous  contrast :  that  when  any 
colors  are  viewed  simultaneously  they  will  7iot  appear  of  the  sa7ne 
tone  or  hue  as  when  viewed  alone^  but  just  as  dissimilar  as  possi¬ 
ble ;  the  change  being  caused  by  the  adding  to  each  the  complemen¬ 
tary  tint  of  the  other. 

When  the  two  colors  juxtaposed  are  of  the  same  intensity  of  tone 
and  hue  the  result  is  the  same  on  both  colors.  But  if  light  and  dark 
tones  are  placed  side  by  side,  then  the  light  tone  becomes  much  lighter 
and  the  dark  tone  is  a  little  darker.  Each  of  these  laws  is  illustrated 
by  practical  application  on  the  display  pages  instead  of  by  the  use  of 
meaningless  figures.  These  illustrations  will  repay  careful  study. 

There  are,  then,  two  changes  in  simultaneous  contrast:  first,  the 
change  of  hue  or  color,  being  moved  away  from  each  other  on  the  side 
of  the  triangle  ;  second,  the  change  of  tone.  Thus  a  strip  of  color,  in 
reality  all  one  tone,  when  brought  side  by  side  with  a  different  tone 
of  its  own  color  will  appear  as  a  scale  of  tones  of  that  color  beginning 
with  a  light  tone,  where  the  strips  meet,  and  growing  darker  to  the 
outer  edge.  This  is  contrast  of  tone.  In  viewing  some  of  the  two- 
color  initial  letters  the  solid  block  will  seem  of  a  lighter  tone  near  the 


41 


COLOR 

Modified 

Eesult  of 
Contrasts 


initial  than  it  is  at  the  outer  edge.  Hence  not  only  color,  but  height: 
of  tone  must  be  considered  in  juxtaposed  colors.  Simultaneous  con¬ 
trasts,  then,  cause  one  color  to  show  another  at  its  very  best,  or  even 
better  than  it  really  is. 

Names  of  colors  vary  so  that  this  table  is  only  an  indicator,  giving 
simply  a  hint  of  what  to  expect  when  combining  colors.  In  all 
these  cases  much  depends  on  the  particular  shade  of  color  used 
whether  the  result  be  harmonious  or  not.  The  complementary  color 
raised  by  simultaneous  contrast  is  always  a  very  light  tint,  not  a  full 
color,  yet  it  is  oftentimes  sufficient  to  change  the  hue  of  adjacent 
colors  quite  perceptibly  The  following  is  a  list  showing  the  result 
of  simultaneous  contrast  on  some  of  the  most  common  colors;  — 


Colors  in 
Juxtaposition 

Oomplementaries 

Ooniplenaentary  of  each  added  to  the 
other,  moves  it  around  triangle  toward. 

f  Red 

Green 

Brighter  Red 

]  Green 

Red 

Brighter  Green 

(  Red 

Green 

Violet 

1  Yellow 

Violet 

Green 

j  Red 

Green 

Orange 

1  Blue 

Orange 

Green 

(  Red 

Green 

Purple 

[  Orange 

Blue 

Yellow 

1  Red 

Green 

Orange 

1  Violet 

Yellow 

Blue 

(  Blue 

Orange 

Brighter  Blue 

1  Orange 

Blue 

Blighter  Orange 

(  Blue 

Orange 

Indigo 

1  Yellow 

Violet 

Orange 

1  Blue 

Oiange 

Indigo 

(  Green 

Red 

Yellow 

(  Blue 

Orange 

Green 

1  Violet 

Yellow 

Red 

(  Yellow 

Violet 

Green 

(  Orange 

Blue 

'  Red 

(  Yellow 

Violet 

Brighter  Yellow 

1  Violet 

h'ellow 

Brighter  Violet 

,  f  Orange 

Blue 

Red 

1  Green 

Red 

Blue 

(  Orange 

Blue 

Yellow 

1  Violet 

Yellow 

Indigo 

(  Green 

Red 

Yellow 

j  Violet 

Yellow 

Purple 

42 


Light  Modifies  Color. — It  is  well  known  that  a  color  is  greatly 
modified  by  the  light  it  is  viewed  in.  The  color  printer  has  often 
tried  to  secure  a  good  yellow  by  a  poor  light  only  to  find  when  viewed 
by  white  light  that  the  color  was  so  harsh  as  to  ruin  the  job  in  hand. 
Hence  it  is  a  safe  rule  to  follow,  never  to  attempt  fine  color  work  by  a 
poor  light.  In  fact,  no  good  pressman  will  commence  a  makeready 
by  a  poor  light,  for  it  is  impossible  to  get  a  good  makeready  or  even 
color  except  by  white  light.  What,  then,  is  to  be  said  of  the  man 
who  buries  his  office  in  a  cellar  or  between  solid  walls  where  white 
light  in  its  full  intensity  never  penetrates  ?  It  is  safe  to  say  that  he 
who  values  fine  effects  and  a  high  grade  of  work  will  never  so  place 
his  presses.  But  why  is  this  ? 

A  colored  body  absorbs  certain  color  rays  and  reflects  the  rest, 
the  reflected  light  being  its  color.  If  the  light  falling  on  the  object  is 
not  white  but  colored,  and  that  color  being  simply  the  color  absorbed 
by  the  object,  then  it  absorbs  all  or  nearly  all  the  light  falling  on  it, 
hence  it  will  appear  black.  Thus  the  color  of  a  body  will  be  modi¬ 
fied  by  the  light  in  which  it  is  seen.  For  instance,  if  a  red  flower  be 
exposed  to  a  light  which  is  passed  through  a  green  glass,  the  flower 
will  appear  black,  for  the  glass  has  stopped  all  the  red  and  orange 
light  which  the  flower  could  reflect  and  has  thrown  upon  it  only 
those  rays  which  it  absorbs. 

In  the  following  table  we  give  some  effects  of  the  same  color 
when  viewed  by  a  strong,  moderate,  or  dim  light :  for  instance,  a  red 
object  seen  by  a  strong  light  becomes  scarlet,  while  if  the  light  is 
gradually  decreased  it  becomes  normal  red,  then,  as  the  light  becomes 
dim,  it  seems  of  a  purplish  hue  :  — 


normal  Color 

Strong  Light 

Dim  Light 

Red 

becomes 

Scarlet 

Purplish 

Scarlet 

Oiange 

Red 

Orange 

Yellow 

Brown 

Yellow 

Paler 

Greenish 

Yellow-Greeu  “ 

Yellower 

Greener 

Blue-Gieen 

More  Blue 

Greener 

Blue 

Brighter 

More  Violet 

Violet 

i  i 

More  Blue 

Purple 

Purple 

i  i 

More  Red 

Violet 

To  test  this  and 

see  how  gr 

eat  the  change. 

take  strips  of  strong 

rs  and  so  hold  as  to  have  one 

half  in  the  sun 

and  the  other  half  in 

the  shadow.  After  doing  this  you  will  no  longer  doubt  that  light 
affects  the  apparent  color  of  an  object. 


COLOR 

Modified 
By  Light 


43 


€OLOE 

Modified 
By  Light 


Green  gives  an  entirely  different  tone  when  seen  by  the  following 
different  lights  :  white  light,  diffused  light,  and  electric  light,  while 
viewed  by  gas  light  it  changes  its  hue  rapidly  towards  yellow.  Yellow 
almost  fades  from  view  in  a  dim  or  gas  light.  Pink  by  gas  light  looks 
scarlet.  Blue  viewed  by  yellow  gas  light  has  a  green  hue.  Hence 
in  doing  fine  color  work  it  becomes  necessary  to  consider  in  what 
light  the  work  in  hand  will  be  used.  For  instance,  a  fancy  pro¬ 
gramme,  score  card,  or  ball  card  would  require  a  different  coloring  if 
for  evening  use  from  what  would  give  delicate,  harmonious  effects  if 
used  by  daylight. 


44 


PRINTING. 


HE  first  part  of  this  treatise  aims  to  give  and 
explain  the  laws  which  are  the  cause  underly¬ 
ing  the  effect.  T^he  remainder  of  the  work 
will  be  devoted  to  developing  some  of  the 
best,  simplest,  and  most  effective  methods  of 
applying  these  laws  in  an  endeavor  to  secure 
the  highest  possible  grade  of  illumination  of 
the  printed  page. 

It  will  at  once  be  evident  that  this  is  a 
broad  field  ;  a  most  important  one  ;  and  one  which  is  being  studied 
more  and  more  by  the  trade  the  world  over.  Looked  at  as  shrouded 
by  great  complexity  and  no  small  difficulty  by  those  ignorant  of  its 
laws,  but  as  one  comes  to  see  and  know  more  fully  the  detail  of  the 
work,  he  can  but  recognize  the  same  master  hand,  the  same  ruling 
law  and  inevitable  fact,  which  underly  all  the  beauties  of  nature — 
cause  and  effect.  In  fact,  simple  as  it  may  seem,  there  is  no  lesson 
so  important  to  be  learned  as  that  there  can  be  no  effect  without  a 
■cause.  To  see  a  beautiful  effect  should  impel  07ie  to  at  once  search 
diligently  for  the  cause. 

The  day  is  approaching  when  almost  every  job  will  have  at  least 
a  touch  of  color  added  to  give  it  life  and  forcefulness.  The  old  type 
faces,  the  old  ideas,  methods,  styles,  etc.,  are  dropping  away  one  by 
one,  and  new  and  more  harmonious  methods  and  styles  are  replacing 
the  m . 

The  color  printer  is  to  be  the  coming  man,  but  he  must  possess 
skill  and  experience  that  shall  enable  him  to  decide  every  detail  of  a 
work  of  art,  from  the  appropriate  choice  of  color  for  stock,  the  best 
harmonies,  distribut  on  of  the  masses,  style  of  composition,  orna¬ 
mentation,  etc.,  down  to  the  most  trilling  detail,  with  judgment, 
accuracy,  and  dispatch.  In  fact,  he  must  have  become  possessed  by 
a  purpose  to  excel  in  his  own  profession  to  such  an  extent  that  he  is 
willing  to  make  any  sacriffce  to  become  as  good  as  the  best.  Purpose, 
-study,  and  observation  are  valueless  unless  their  achievements  are  so 


45 


PEINTINa 

Ink 


fixed  upon  the  mind  as  to  become  expressed  in  laws,  which  shall  be 
acted  upon  faithfully. 

At  the  outset  the  color  printer  may  make  errors  of  judgment 
which  discourage  ;  such  as  crowding  too  many  and  too  full  colors  into 
a  job  ;  forgetting  that  the  first  rule  of  good  color  work  is  legibility^ 
and  the  second  is  to  use  just  as  few  colors  as  shall  give  the  most  per¬ 
fect  results  ;  but  gradually  he  will  learn  that  each  colored  paper  calls 
for  a  different  shade  of  ink,  that  certain  colors,  and  tones,  and  hues 
produce  harmonies,  while  others  do  not.  He  will  awaken  to  the  fact 
that  just  before  him  is  one  of  the  most  fascinating  fields  for  experi¬ 
ment  and  study  that  science  holds  out  to  man. 

Positions  are  open  in  the  large  cities  for  men  who  are  in  every 
sense  artists  in  color  work.  Men  who  know  how  to  employ  colors 
scientifically,  harmoniously,  forcefully,  and  at  the  least  possible  cost, 
yet  in  a  manner  to  give  the  greatest  value  of  publicity  to  the  printed 
page. 

He  must  be  able  to  map  out  the  job  in  hand  with  intelligence  and 
taste,  choosing  his  type  faces  and  ornaments  to  correspond  with  the 
inks  decided  on.  He  will  know  that  an  ink  of  delicate  color  calls  for 
a  heavy  impression,  while  black  ink,  as  a  rule,  calls  for  a  lighter  face 
type.  When  these  and  a  multitude  of  details  have  been  mastered, 
he  awakens  to  the  fact  that  he  knows  only  the  A,  B,  C,  of  color  work. 

It  is  necessary  first  to  become  thoroughly  acquainted  with  the 
laws  governing  light  and  color,  then  study  practical  harmony,  which 
can  only  be  secured  in  its  tender  blendings  by  much  study  and  pains¬ 
taking  experience  and  observation.  The  following  pages  may  aid  the 
careful  seeker  somewhat.  It  is  safe  to  assume,  when  viewing  an 
especially  beautiful'  print,  which  is  soft,  harmonious,  and  fascinating, 
that  it  was  not  by  accident,  nor  by  magic,  that  the  artist  printer  was 
enabled  to  produce  so  completely  harmonious  results.  Careful,  per¬ 
sistent  study  of  all  the  fundamental  principles,  and  of  every  seemingly 
trifling  detail,  had  prepared  the  mind  and  eye  to  grasp  quickly  and 
accurately  everything  necessary  to  secure  just  the  desired  effect.  It 
was  simply  the  working  out  of  the  law  of  cause  and  effect.  The 
workman  must  first  become  perfectly  familiar  with  the  tools  and 
material  that  must  be  used. 

Inks  command  our  attention  first,  as  skill  in  their  use  gives  great 
pleasure  and  profit. 

This  subject  cannot  be  lightly  passed  by.  Below  are  a  few  of 
the  many  things  which  must  be  taken  into  account  in  choosing  the  ink 
to  be  used  upon  a  job. 


46 


Color  and  character  of  paper ;  smooth  or  rough, 

Character  of  form;  half-tones  or  type;  light  or  fullface  type; 

amount  of  free  space  in  form, 

Light  the  job  is  to  be  viewed  by  ;  day  or  night. 

Appropriateness  of  color  for  subject,  or  occasion. 

Kind  of  harmony  ;  contrast  or  analogy. 

Dominant  color  ;  cold  or  warm. 

Height  of  tone  and  strength  of  hue  of  the  secondary  colors. 
Character  of  ink  distribution  on  press  to  be  used. 

If  complementary  colors  can  be  used,  what  eflect  the  com¬ 
plementary  of  each  color  will  have  on  the  others, 
that  is,  simultaneous  contrasts. 

These  and  many  other  questions  demand  attention,  and  they  can¬ 
not  be  settled  with  instant  precision  and  accuracy  unless  one  is  inti¬ 
mately  acquainted  with  chromatics.  To  one  who  really  desires  to 
excel  in  this  and  be  able  to  act  both  quickly  and  wisely  in  choosing 
inks  and  colors,  the  following  pages  will  contain  something  of  more 
than  passing  interest. 


INK 

Choosing 


There  is  a  considerable  yearning  on  the  part  of  many  printers  to 
dabble  in  inks;  a  constant  call  for  formulas  for  the  manufacture  of 
inks  at  home.  A  laudable  purpose  to  econoniize  prompts  this  ;  but 
is  there  true  economy  in  this  course?  For  a  few  experienced  colorists 
it  may  be  of  advantage,  but  many  thus  inclined  use  comparatively 
little  ink  in  a  year,  and  have  no  conception  of  the  mechanical  appli¬ 
ances  and  chemical  knowledge  necessary  to  success.  In  fact,  the 
absolutely  essential,  fundamental  principles  underlying  and  governing 
color  work  are  unknown  to  them. 

If  a  man  be  practical,  painstaking  and  possessed  of  infinite 
patience  and  perseverence  lie  may,  after  many  expensive  failures, 
make  a  fairly  good  ink,  but  only  to  discover  that  his  ink  bill  is  larger, 
including  costly  failures,  than  it  would  have  been  had  he  bought  the 
ink  from  the  manufacturers. 

The  fezv  men  who  are  experts  in  ink  making  have  devoted  a 
lifetime  to  study  and  practice  and  have  traveled  the  Vvorld  over  in 
search  of  all  possible  knowledge  bearing  on  the  subject.  Yet,  with 
our  present  great  diversity  of  stock  from  cheap  news  to  coated  and 
bond  papers,  made  of  so  widely  differing  material,  which  must  be 
printed  on  with  such  a  variety  of  type,  engravings,  lialf-tones,  and 
three-color  process  plates,  it  often  puts  the  experts  to  their  wits’  ends 
to  secure  the  necessary  variety  to  supply  all  the  demands  of  the  trade. 

The  advancement  in  printing  and  printers’  mateiials  lias  been  so 


47 


INK 

Mixing 


marked  in  recent  years,  adding  so  many  changeable  quantities  in  the 
way  of  stock,  plates,  color  work,  character  of  rollers,  and  even 
quality  of  distribution  that  if  one  is  sure  of  perfect  effect  it  is  neces¬ 
sary  to  use  a  somewhat  different  ink  on  almost  every  job  ;  in  fact,  a 
different  ink  on  the  same  job  if  it  is  to  be  run  on,  say,  a  four-roller 
cylinder  from  what  would  be  used  if  to  be  printed  on  a  platen  press 
with  its  inferior  distribution.  It  is  readily  perceived,  then,  that  if  the 
progressive  printer,  who  desires  to  both  excel  and  to  be  truly  eco¬ 
nomical,  turns  to  the  study  of  the  fundamental  color  principles,  inks, 
half-tones,  stock,  rollers,  presses,  distribution,  and  other  influences 
bearing  directly  upon  perfect  ink  effects,  he  will  find  a  surprisingly 
wide  field  for  stud}",  and  that  study  and  investigation  will  bear  much 
fruit,  in  more  perfect,  harmonious,  neat,  and  well-executed  printing, 
as  well  as  in  great  financial  gains  which  ai'e  sure  to  follow  intelligeut 
work' . 

How,  then,  is  one  to  get  inks  just  adapted  to  each  job?  If  the 
run  is  to  be  a  long  one  and  also  one  requiring  the  careful  use  of  mk, 
it  is  well  to  remember  that  the  reputable  ink  manufacturers  have  an 
expert  who  is  readv  and  competent  to  council  on  all  doubtful  points. 
Send  to  the  ink  manufacturers  a  proof  of  the  job  to  be  worked, 
together  with  sample  of  paper  on  which  it  is  to  be  jirinted,  naming 
the  kind  of  press  to  be  used  and  thev  will  usually  send  an  ink  which 
will  do  the  work  witho-ut  one  drop  of  doctoring,  either  with  drier  or 
varnish. 


Mixing  Inks. — Veiy  often  a  small  job  will  require  an  ink  of  a 
shade  or  qualitN'  not  at  hand;  at  such  times  it  becomes  necessary  to 
carefullv  and  understandinglv  mix  two  or  more  inks,  driers,  reducers, 
or  \  arnishes,  as  the  case  may  require. 

Hence,  in  this  treatise  is  given  the  necessary  fundamental  knowl¬ 
edge  togc-ther  with  many  useful  hints  and  suggestions,  and  oft-tried 
formidas  for  aiding  in  the  mixing  and  use  of  inks. 

Names  of  inks  are  so  arbitrary  ;  difierent  people  irking  the  same 
name  to  indicate  difierent  hues  of  the  same  color,  that  it  is,  at  best  only 
a  sort  of  guide,  by  no  means  a  safe  rule  to  follow,  to  say,  for  instance, 
that  five  ]:)arts  of  vellow  mixed  with  one  part  of  blue  will  give  green. 
While  that  mav  have  proven  true  in  one  experiment  it  does  not  follow 
that  it  will  give  true  results  when  some  one  else  takes  down  the  blue 
and  \  ellow  he  may  chance  to  have  in  stock  and  tries  with  these  same 
proportions  to  make  green.  This  fact  must  be  borne  in  mind,  as 
any  suggestions  in  this  line  can  only  be  approximate. 

It  is  well,  however,  for  one  wdio  keeps  in  stock  const. m'ly 


48 


standard  colors  of  ink,  to  make  careful  note  of  quantities  and  propor¬ 
tions  used  in  such  combinations  for  they  will  not  onl)  be  convenient 
but  save  much  valuable  time.  Where  the  same  inks  are  constantly 
kept  in  stock,  proportions  once  secured  should  be  accurately  followed. 
Allow'  no  guesswork  in  mixing  inks. 

Where  uniform  success  is  essential  at  everv  trial,  the  first  thing 
necessary  is  a  careful  knowledge  of  the  relation  of  the  different  colors  ; 
what  effects  to  expect  when  certain  colors  are  combined,  etc.  Hence 
it  is  taken  for  granted  that  before  attempting  to  mix  inks  the  operator 
has  familiarized  himself  with  the  preceding  fundamentals,  primaries, 
secondaries,  tertiaries,  and  the  rules  governing  mixing  theiiyvarious 
hues,  as  shown  on  the  preceding  charts,  as  well  as  the  meaning  of  the 
terms  hue,  tone,  tint,  etc. 


INK 

Mixing 

Tone 


Absolute  cleanliness  is  essential.  The  spatula,  stone,  hands,  and, 
in  fact,  everything  to  be  used  about  the  ink  sliould  be  scrupulously 
clean,  and  in  changing  from  one  color  to  another  the  last  particle  of 
the  first  must  be  cleared  oft'  before  starting  anew.  The  presence  of 
just  the  little  foreign  color  which  may  have  been  carelessly  left  on  the 
knife  or  ink  slab  will  explain  fully  why  an  experiment  failed  to  give 
the  color  expected.  It  is  simply,  as  has  been  said  elsewhere,  that 
where  all  three  primaries  are  mixed  in  equal  proportions  they 
form  black.  So,  what  little  there  may  be  in  a  mixture  of  all  three 
primaries  forms  a  little  black  or  grey,  thus  defiling  the  whole  and 
baffling  otherwise  careful  work. 

Great  perseverance  is  necessary  to  properly  combine  the  tints, 
and  the  same  is  true  when  adding  any  of  the  driers,  reducers,  or 
varnishes  lo  ink.  They  must  be  thoroughly  worked  together  with 
the  spatula  or  in  the  ink  mill,  else  they  will  separate  and  mottle 
when  used.  In  fact  the  two  principal  ingredients  to  be  used  in  mixing 
inks  are  muscle  and  brains. 

Tone. — The  first  change  from  the  normal  colors  to  be  considered 
is  the  making  of  the  various  tones.  From  every  color  or  hue  can  be 
produced  a  complete  scale  of  tones  by  proper  mixing  of  that  color 
with  white  or  black  in  ever  increasing  proportions.  The  color  must 
always  be  taken  at  its  fullest  intensity  for  this  work. 

If  a  lighter  tone,  or  a  series  of  tones,  of  a  color  are  desired  add  a 
little  color  to  white  the  same  as  for  tints  only  in  increasing  quantities, 
of  color.  If  deep  tones  or  shades  of  a  color  are  desired  add  just  a 
little  black  to  the  color,  re  nembering  that  a  little  black  goes  a  long 
wav. 


49 


A  Tint  is  one  of  the  light  tones  of  a  color.  Tints  are  made  by 
adding  just  the  least  trifle  of  a  color  to  white,  care  being  taken  not  to 
add  too  much  as  a  little  color  will  tint  a  much  larger  body  of  white 
than  one  would  expect.  It  is  by  the  aid  of  the  delicate  tints  of  the 
luminous  colors  and  of  the  greys  that  the  colorist  secures  many 
especially  fine  harmonies.  Tints  are  very  useful  in  ornamental  and 
fancy  color  printing.  There  is  almost  no  end  to  ways  and  places 
where  a  workman  of  a  suggestive  turn  can  use  tints  to  good  advantage. 

To  make  a  tint  take  a  spatula  and  place  a  quantity  of  white  ink 
on  the  slab,  then  with  another  spatula  add  just  the  least  trifle  of  the 
color  desired  for  the  tint,  and  if,  after  thoroughly  mixing,  it  proves 
too  light  add  and  work  in  a  little  more  color.  When  the  tint  is  to  be 
worked  over  another  color,  which  should  not  be  obscured,  use  mag¬ 
nesia  white  ink  for  the  body  and  the  result  will  be  a  transparent  tm-t 
that  can  be  worked  over  any  desired  color.  This  transparent  tint 
often  gives  fine  gloss  effects  to  a  job  which  otherwise  would  have 
been  weak  in  effect. 

If  a  grey  tint  is  wanted,  take  an  opaque  white  and  add  just  a  lit¬ 
tle  black,  working  it  into  the  white  well,  and  if  the  grey  is  not  dark 
enough,  add  a  little  more  black.  A  very  little  of  any  dark  color  will 
tint  a  large  amount  of  white.  If  a  colored  grey  is  needed,  add  a 
little  of  the  desired  color  to  the  grey  already  made.  These  colored 
greys  form  fine  backgrounds  on  which  to  work  deep  tones  of  the 
same  color  or  complementary  colors. 

The  following  familiar  tints  can  be  secured  by  adding  a  little 
color  to  white,  as  named  below  :  — 

Pink,  add  a  little  red  to  white, 

Salmon,  add  a  little  orange-red  to  white. 

Buff,  add  a  little  orange  to  white, 

Cream,  add  a  little  orange-yellow  to  white. 

Straw,  add  a  little  yellow  to  white, 

Pea  green,  add  a  little  green  to  white. 

Sea  green,  add  a  little  blue-green  to  white, 

Azure,  add  a  little  blue,  to  white. 

Lavender,  add  a  little  violet  to  white. 

Heliotrope,  add  a  little  purple  to  white. 

Magenta,  add  a  little  purple- red  to  white. 

A  Hue  is  the  result  of  adding  a  little  of  one  color  to  another.  It 
is  a  hue  of  the  color  predominating  in  the  mixture.  For  instance  :  if 


INK 

Mixing 

Tint 

Hue 


it 


50 


one  part  of  blue  be  added  to  twenty  parts  of  yellow  the  result  is  a  INK 
hue  of  yellow,  as  the  instant  ever  so  little  of  a  second  color  is  added 
it  ceases  to  be  a  pure  color  and  becomes  a  hue.  By  successively  add- 
ing,  two,  three,  four,  five,  six,  or  more,  parts  of  blue  to  yellow  a  great 
number  of  hues  of  yellow  are  secured.  When  the  proportion  has  so 
changed  that  there  is  most  of  blue  in  the  mixture  it  becomes  a  hue  of 
blue.  In  mixing  colors  to  secure  hues,  full,  pure  colors  must  be 
taken.  In  mixing  hues  it  is  well  to  keep  the  complete  triangle  chart 
before  the  operator.  Have  a  large  triangle  drawn  on  a  card  and  the 
colors  written  in  their  proper  places  and  keep  it  hanging  near  the  ink 
cupboard.  It  will  be  found  of  great  assistance  in  choosing  colors  for 
mixing  as  well  as  determining  contrasts,  whether  colors  will  har¬ 
monize  or  not,  etc. 

Hues  having  been  obtained  by  mixing  full  colors,  can  be  treated 
the  same  as  any  color  and  can  be  lightened  by  the  addition  of  white 
or  darkened  by  adding  black,  producing  tones  of  the  hues. 

In  a  three  or  more  color  combination,  where  it  seems  best  to  use 
only  one  full  color,  and  the  hues  give  too  loud  a  contrast  it  may  be 
necessar}'  to  reduce  the  tone  of  the  hue  by  adding  sufficient  white  to 
secure  the  desired  harmonious  tone. 

Red  Ink. — True  red  is  nearly  blood  color,  being  a  happy 
medium  between  orange-red  and  purple-red,  that  is,  as  free  from  both 
as  possible.  The  moment  any  blue  is  added  it  becomes  a  hue  of  red. 

It  defiles  quickly  with  blue.  In  a  general  sense,  however,  red 
includes  many  hues,  such  as  orange-red,  brilliant-red,  Vermillion, 
scarlet,  and  crimson  ;  orange-red  being  the  lightest  hue  and  Vermil¬ 
lion  the  darkest. 

Red  has  a  wide  field  of  usefulness  in  mixing  inks.  The  differ¬ 
ent  hues  of  red  are  capable  of  so  many  different  combinations  and  can 
be  added  in  various  quantities  to  so  many  of  the  warm  colors  and 
hues,  that,  when  properly  placed,  their  usefulness  is  almost  unlimited. 

Yet  if  used  in  ignorance  the  results  are  far  from  pleasing.  Red  for 
half-tones  must  be  firm,  full  body,  but  not  tacky,  covering  the  form 
evenly,  and  letting  go  of  it  with  ease. 

For  three-color  work,  red  must  be  a  pure,  spectrum  color,  and 
made  transparent  in  order  to  secure  the  full  benefit  of  the  blending  of 
overlapping  colors.  It  is  also  essential  that  it  be  of  a  full  color  and 
tone,  of  good  quality,  so  that  it  can  be  carried  as  light  as  possible  on 
the  rollers,  and  with  sis  little  quick  drier  as  the  proper  drying  of  the 
ink  will  allow. 


51 


INK 

Mixing 

Yellow 

Blue 

Two-Color 

Mixtures 


For  a  red  to  mix  with  the  other  primaries  take  a  pure  spectrum 
red  if  to  be  used  with  yellow.  If  to  be  used  with  blue  it  may  some¬ 
times  be  necessary  to  take  a  red  which  leans  to  purple,  somewhat. 

Do  not  complain  to  the  manufacturer  that  he  gave  too  firm,  full- 
bodied  a  red.  Firmness  and  full  color  are  prime  essentials  in  red 
ink.  If  the  ink  is  too  tacky,  or  refuses  to  let  go  readily,  carefully 
add  a  little  vaseline  or  better,  hog’s  lard,  thoroughl}  incorporating  it 
into  the  ink. 

Yellow  is  the  most  luminous  color  and  is  tarnished  by  the 
slightest  addition  of  another  color.  Lemon-yellow  is  the  purest  and 
nearest  to  spectrum  yellow  ;  hence  it  should  be  used  for  compounding 
colors;  also  in  all  three-color  work.  When  it  is  impossible  to  secure 
a  perfect  yellow  that  is  transparent  it  is  best  to  print  the  yellow  first 
in  three-color  work.  Yellow  is  most  useful  in  adding  w^armth  to 
colors  with  which  it  is  mixed.  Mixtures  will  be  dull  or  bright,  just  in 
proportion  as  the  primaries  from  which  they  are  mixed  are  pure; 
hence  too  great  care  in  selecting  pure  spectrum  colors  cannot  be  taken. 

From  red  and  yellow  in  varying  proportions  can  be  made  all  their 
hues  lying  between  yellow  and  red  on  the  side  of  the  triangle.  In 
mixing,  place  upon  the  ink  slab  first  the  lighter  color  and  little  by 
little  add  the  darker  one  until  the  desired  hue  is  obtained.  This 
method  should  always  be  followed,  as  it  is  not  easy  to  rectify  the 
error  if  the  color  is  made  too  dark  at  first. 

Blue  being  a  cold  color  mixes  well  with  other  colors  when 
properly  handled.  It  should  be  taken  in  medium  or  light  pure  tones. 
But  little  is  required,  as  it  darkens  a  much  larger  quantity  than  one 
would  expect.  A  medium,  ultra  marine  blue  is  nearly  the  same  a& 
spectrum  blue,  being  practically  free  from  violet  or'  green.  Bronze 
blue  added  to  black  gives  a  fine  blue-black,  or  a  black  with  a  gloss 
and  lustre  much  sought  after.  If  a  black  is  dull  or  rusty,  or  is. 
worked  beside  a  color  whose  complementary  injures  it,  the  adding 
of  bronze  blue  to  it  will  rectify  the  trouble  and  give  fine  results. 

Two-Color  Mixtures. — In  mixing  secondary  colors  from 
two  primaries  pure  colors  are  imperative.  Red  and  yellow  will  give 
orange  or  hues  of  red  or  yellow,  just  as  the  colors  are  proportioned. 
In  judging  the  proper  proportions  keep  the  triangle  handy  for  refer¬ 
ence  ;  it  will  solve  many  a  trying  question.  Yellow  ^and  blue  will 
give  green  in  its  various  hues. 


52 


Only  with  the  purest  of  ink  and  careful  proportions  can  one 
secure  violet  from  blue  and  red.  If  trying  to  do  this  use  a  crimson 
and  a  blue  somewhat  inclined  toward  indigo  and  the  results  will  be 
more  satisfactory.  This  difficult}^  of  securing  a  good  violet  or  purple 
mixture  is  due  to  the  fact,  that  each  primary  color  contains  some  of 
the  other  two  primaries,  so  that  when  red  and  blue  are  mixed  to  form 
violet,  the  little  unseen  yellow  in  their  composition  combines  with  the 
red  and  blue  forming  black,  which  so  defies  the  mixture  as  to  spoil 
the  violet.  This  impurity  of  colors  above  referred  to  will  account  for 
many  vexing  failures.  Aloral !  Choose  pure  colors,  if  moved  at  all 
from  purity  move  toward  each  other  on  the  side  of  the  triangle,  for 
then  they  will  contain  less  of  the  third  primary.  If  the  third  primary 
gets  into  a  two-color  mixture  and  defiles  it,  nothing  will  remedy  it; 
the  black  remains,  however  much  of  the  pure  color  may  be  added. 
There,  then,  is  nothing  to  be  done  but  to  commence  over,  profiting 
by  the  failure  and  avoiding  the  impurities. 

Three-Couor  Mixtures. — These  broken  hues,  that  is,  colors 
which  have  more  or  less  of  all  three  primaries  in  their  composition, 
which  are  sometimes  called  tertiary  colors,  because  of  the  third  com¬ 
bination,  can  be  made  by  mixing  in  various  proportions  the  secondary 
color,  but  often  a  more  direct  way  will  be  by  adding  varying  pro¬ 
portions  of  grey  to  a  primary  or  secondary.  The  broken  colors  are  less 
luminous  than  the  primaries  or  secondaries,  hence  they  give  soft  and 
pleasing  effects  in  combination. 

The  followdng  colors  can  be  secured  by  adding  grey  in  varying 
proportions  to  the  pure  colors  named  : — 

Maroon,  by  adding  grey  to  red. 

Terra  Cotta,  by  adding  grey  to  orange-red. 

Citron,  by  adding  grey  to  yellow. 

Russet,  by  adding  grey  to  orange-red. 

Brown,  by  adding  grey  to  red-orange. 

Myrtle,  by  adding  grey  to  blue-green, 

Olive,  by  adding  grey  to  yellow-green,' 

Sage,  by  adding  grey  to  green. 

Slate,  by  adding  grey  to  violet, 

Plum,  by  adding  grey  to  purple. 

Navy  blue,  by  adding  grey  to  blue.  ^ 

The  above  list  of  colors  comprises  only  a  few  of  the  many  com¬ 
binations  which  become  possible  by  the  addition  of  black,  white,  or 

55 


INK 

Three-Color 

Mixtures 


INK 

Opaque 
Transparent 
Paper  and 
Ink 


grey,  to  the  colors  named.  In  fact,  in  most  of  the  above  cases  it  is 
best  to  tone  the  colors  down  in  order  to  secure  the  most  perfect  har¬ 
mony  between  the  different  colors  used  and  the  ground  on  which  they 
are  to  be  printed.  Many  other  tones,  tints,  and  greys  can  be  added 
to  them,  multiplying  still  further  their  possibilities. 

The  necessity  of  having  warm  colors  predominate  when  two  or 
more  colors  are  used  together  is  apparent  when  it  is  realized  that  the 
warm  colors  exhaust  the  nerve  power  of  the  eye  less  than  the  cold. 
It  is  best  to  make  some  one  color  strong,  bright,  and  contrasting,  so 
that  it  will  be  the  predominating  feature  of  the  group.  This  can  be 
done  either  bv  strength  of  color  or  by  means  of  a  large  area  of  one 
color. 


Opaque  and  Transparent  Inks. — Inks,  as  usually  received 
from  the  manufacturers,  are  opaque,  and  for  most  uses  this  is  best 
and  even  necessary  to  secure  satisfactory  results.  Yet,  the  time  has 
come  when  the  great  variety  of  work  requires  also  transparent  inks, 
making  it  necessary  to  specify  when  ordering  just  what  the  ink  is 
intended  for,  and  that  a  transparent  ink  is  desired.  Tints  can  often 
be  left  to  the  last  impression  by  using  a  transparent  tint,  which 
is  very  advantageous  for  several  reasons.  The  whole  job  can  be  run 
with  fewer  delays  for  ink  to  dry,  and  when  the  tint  is  put  on  last  it 
adds  a  fine  gloss  and  lustre  to  type  or  half-tones  over  which  it  is 
printed 

In  three-color  work  the  success  of  the  whole  job  lies  largely 
in  using  transparent  inks,  which  will  readily  give  desired  results. 
Also  when  printing  the  same  half-tone  or  cut  first  in  one  color 
-and  then  in  another  right  over  the  first,  the  transparent  ink  is 
necessary. 


Paper  and  Ink. — There  is  a  simultaneous  contrast  between  the 
color  of  ink  and  paper  on  which  it  is  printed,  which  causes  them  to 
appear  as  dissimilar  as  possible. 

The  color  of  the  paper,  which  occupies  a  larger  area  than  the 
ink,  throws  its  complement  upon  the  ink,  thus  either  strengthening 
or  weakening  its  tone  and  intensity.  This  must  always  be  considered 
in  choosing  the  best  color  and  tone  of  ink  for  a  given  color  of  paper. 

If  the  ink  is  injured  by  this  contrast,  a  different  ink  must  be  used, 
or  sufficient  ink  of  the  necessary  color  added  to  counteract  the  simul¬ 
taneous  contrast.  For  example  :  — 

If  green  ink  is  printed  on  a  blue  ground,  orange,  the  complement 
of  the  ground,  is  thrown  on  the  green,  causing  it  to  appear  yellowish, 

56 


hence  sufficient  blue  ink  must  be  added  to  the  green  to  counteract 
the  effect  of  the  orange  by  moving  the  green  away  from  yellow  toward 
blue.  This  is  one  instance  among  many  where  what  to  the  inex¬ 
perienced  would  prove  an  insurmountable  difficulty  becomes  only  a 
trifling  incident  to  the  expert  colorist. 

Driers  for  Ink. — It  is  often  essential  that  ink  should  dry 
quickly  after  printing.  Considerable  skill  and  judgment  are  neces¬ 
sary  in  using  exactly  the  proper  quantity  of  drier  on  so  widely  differ¬ 
ing  grades  of  stock  and  work  and  at  the  same  time  retain  the  full 
strength  and  beauty  of  the  ink. 

Hence  in  long  runs  it  is  always  best  to  order  ink  made  especially 
adapted  to  cuts,  stock,  etc.,  to  be  used  on  the  job  in  hand,  for  then 
the  ink  will  require  no  addition  of  drier  or  reducer,  as  the  manufac¬ 
turer  will  have  made  it  short  in  its  strength  of  varnish,  of  full  color, 
finely  ground,  and  properly  fixed  for  drying  and  on  coated  paper,  if 
so  desired. 

Yet,  there  are  constantly  coming  up  small  jobs  calling  for  an 
infinite  variety  of  inks,  each  one  needing  more  or  less  drier  than  the 
ink  at  hand  contains,  so  that  one  must  not  only  be  familiar  with  the 
composition  of  inks,  but  also  equally  familiar  with  driers  and  their 
effects  upon  different  inks.  In  light-colored  inks  a  dark-colored  drier 
must  not  be  used.  Nor  can  a  thin  drier  be  used  where  the  ink  is 
already  too  weak.  It  is  necessary,  then,  for  every  office  to  have  on 
hand  driers  suited  for  the  different  inks  in  stock,  but  labeled  :  “  To 

be  used  sparingly.”  , 

In  case  of  labels  or  any  work  on  coated  or  gloss  stock,  on  which 
it  is  desired  to  get  a  brilliant,  glossy  effect,  and  yet  essential  that 
the  ink  shall  dry  quickly,  use  a  quick-drier  gloss  varnish,  mixed  with 
a  firm,  quick-drying  ink. 

The  following  hints  may  be  of  interest  to  some  who  cannot  easilv 
get  driers  from  the  manufacturers  : — 

Balsam  of  copaiba,  damar  or  copal  varnish  will  act  as  a  drier 
without  injuring  the  quality  of  the  ink  perceptibly. 

If  the  ink  in  hand  is  firm,  with  too  much  drier,  and  yet  to 
add  a  reducer  would  so  thin  it  as  to  impoverish  the  quality  of  color, 
-carefully  mix  in  a  little  news  ink  which  will  sufficiently  reduce  it 
without  injuring  its  quality. 

A  little  vaseline  or  lard  will  decrease  the  strength  of  the  varnish 
used  in  the  ink  and  in  case  the  drier  causes  the  ink  to  pick  the 


INK 

Driers 


57 


INK 


Driers 

Eedncers 


paper,  it  is  necessary  to  thoroughly  incorporate  a  little  into  the  ink^ 

Qiiick-drying  ink  runst  not  be  run  too  heavy  color  lest  it  cause- 
offset.  Yet,  when  run  in  just  the  proper  quantity  to  do  tire  work 
perfectly,  it  is  not  as  apt  to  offset  as  an  ink  which  drys  too  slowly.  A. 
good,  strong  impression  is  necessary  to  set  the  ink  firmly  m  the  stock.. 

If  the  addition  of  a  drier  causes  the  sheets  to  stick  toofether  as  if 

o 

glued  after  printing,  it  shows  that  too  much  drier  was  used.  A  little 
vaseline  will  prevent  the  sticking. 

It  is  evident,  then,  that  the  careful  pressman  will  not  take  a  can 
of  ink  at  random  and  use  it  regardless  of  .  results,  but  will,  before- 
choosing  it,  carefully  consider  the  following  points  : — 

Form  to  be  printed. 

Light  or  fill  If  ace  type, 

Whth  or  without  half-tones. 

Character  of  stock. 

The  effect  desired, 

Press  to  be  used, 

Used  with  what  other  inks. 

When  the  job  must  be  dry  to  deliver. 

'  Thus  it  is  evident  that  even  in  the  every-day  run  of  job  work 
judgment  is  the  best  possible  ingredient  to  mix  with  inks  before 
using. 

Drier  and  Rpiducer  Combined. — At  times  when  the  ink 
requires  both  drier  and  reducer,  damar  or  copal  varnish  can  be  used 
to  advantage.  For  use  in  small  offices  where  but  little  drier  or 
reducer  is  used,  yet  must  be  kept  on  hand,  the  following  will  be 
found  useful,  as  its  ingredients  can  be  secured  from  any  drug  store. 
Mix  together  in  a  bottle  :  — 

2  gills  boiled  oil, 

I  gill  damar  varnish, 
q  drams  oil  of  cloves. 

When  thoroughly  shaken  it  is  ready  for  use.  It  will  act  both  a& 
a  mild  drier  and  a  reducer,  and  should  be  added  sparingly  and  thor¬ 
oughly  incorporated  into  the  ink.  It  will  cause  the  ink  to  work 
smoothly.  An  equal  mixture  of  boiled  oil  and  copal  varnish  is  also 
good  as  a  reducer  and  the  varnish  somewhat  aids  the  drying. 

Reducers. — It  is  not  infrequent  that  ink  taken  from  the  com¬ 
mon  stock  gives  great  annoyance,  and  possibly  retards  the  work 
in  hand,  in  many  ways,  sometimes  most  preplexing  to  a  good  press¬ 
es 


man.  Many  different  things  mav  be  responsible  for  this  trouble,  and 
the  pressman  cannot  be  too  familiar  with  their  causes.  One  stock 
Tequires  full  body,  firm  ink,  while  cheap  stock  works  best  with  thin 
news  ink.  The  temperature,  humidity,  press  used,  cuts  in  form,  and 
•quality  of  distribution  as  well  as  many  other  causes  come  in  to 
make  necessary  a  different  ink  cm  each  class  of  woi  k. 

In  humid  weather,  if  using  fine,  stiff  inks  which  fail  to  give  gpod 
results,  first  get  as  firm  rollers  as  possible  and  then  add  a  little  soft 
news  ink  and  vaseline.  This  will  soften  the  ink,  causing  it  to  give 
good  results  and  wdll  not  impoverish  it  as  reducers  will. 

Cheap  news  ink,  when  a  trifle  Arm  for  use,  can  be  reduced  nicely 
Ty  adding  boiled  oil  in  small  quantities. 


INK 

On  Coated 
Paper 

Coat  Pulls  Off 


Printing  on  Coated  Paper. — Manv  difficulties  confront  the 
printer  when  working  on  coated  paper,  and  the  most  skilled  of  press¬ 
men  cannot  do  good  work,  howe\er  good  cpiality  of  ink  and  coated 
stock  he  mav-have  unless  he  has  a  good  press,  with  good  rollers  and 
superior  distribution.  The  rollers  must  be  suited  to  the  weather  as 
v/ell  as  to  the  especial  grade  of  ink  to  be  used.  For  a  Arm,  tacky  ink 
or  gold  size  a  new  roller  may  be  no  better  suited  than  an  old  soft  one. 
It  should  be  a  wmll-seasoned,  moderately  firm,  yet  very  elastic  roller, 
•capable  of  taking  up  and  quickly  letting  go  of  very  full-bodied  inks. 


Coat  Pules  Off. — It  is  often  impossible  to  print  on  coated 
•stock  without  pulling  off'  the  coating  in  little  spots.  The  difficulty 
may  lay  in  the  paper  or  it  may  be  in  the  ink.  If  the  glue  used  in 
the  coating  was  of  inferior  quality  and  has  become  rotten  then  there  is 
no  help  for  the  trouble  except  in  securing  good  stock.  It  is  a  simple 
matter  to  determine  if  the  coat  is  strong  and  right.  Jnst  wet  the 
thumb  and  finger  and  press  the  paper  between  them,  then  let  go  and 
if  the  coat  lets  go  the  paper  and  remains  on  the  finger  the  paper  is 
poor. 

If  the  ink  is  too  strong  in  varnish,  making  it  tacky,  it  will  then 
pull  the  coat  badly.  If  this  occurs  in  cold  weather,  get  the  press, 
ink,  etc.,  thoroughly  warm,  and,  then  if  it  still  pulls  the  coating 
reduce  the  tackiness  of  the  ink  by  thoroughly  incorporating  into  it 
vaseline  or  lard,  only  adding  a  sufficient  amount  to  stop  the  pulling, 
as  if  rfeduced  more  than  necessary,  the  ink  will  be  so  Impoverished 
^s  to  injure  its. strength  and  brilliancy. 

It  will  be  necessary  to  use  a  firmer,  better  ink  on  the  same  job  if 


59 


INK 


Piles  Up  On 

Half-tones 

Mottling 


to  be  run  on  a  platen  press  than  would  be  required  were  it  to  be  printed 
upon  a  four-roller  cylinder  press',  for  the  .distribution  is  not  so  good 
on  the  platen  press  as  on  the  cylinder.  One  has  but  to  watch  and 
study  this  point  of  distribution  carefully  for  a  short  time  to  learn  how 
many  times  when  rollers,  ink,  or  pressman  have  been  blamed  for 
poor  work,  while  the  real  trouble  was  in  defective  distribution.  Some¬ 
times  this  cannot  be  remedied,  but  usually,  when  there  are  several 
presses,  a  little  judgment  in  placing  the  work  on  the  proper  machines 
will  be  of  great  profit.  Hence  if  there  are  different  presses  to  choose 
from,  place  work  requiring  firm  inks,  or  half-tone  work  on  machines 
having  the  largest  and  best  roller  capacity.  Then  carefully  set  the 
ink  fountain  to  feed  neither  too  little  nor  too  much  ink.  Good  distri¬ 
bution  allows  of  carrying  much  less  ink,  thus  avoiding  filling  up  of 
fine  lines  and  giving  a  much  clearer  and  more  distinct  print. 

When  using  colored  inks,  especially  of  a  firm  qiiality,  on  good 
stock,  it  will  be  necessary  to  use  a  triffe  firmer  impression  than  when, 
using  black,  as  the  makeup  of  the  colored  inks  will  not  permit  them 
to  cling  to  the  paper  as  readily  as  black.  In  fact,  each  colored  ink 
has  its  peculiarities  which  must  be  learned  by  careful  observation,, 
and,  having  been  learned,  these  peculiarities  must  be  taken  into  con¬ 
sideration. 

Ink  Piles  Up  on  Half-Tones. — When  a  half-tone  has  been 
made  too  shallow  it  may  cause  the  ink  to  pile  up  on  the  shallow  por¬ 
tions.  The  remedy  is  to  buy  onl\  first-class  cuts.  When  the  mis¬ 
take  of  using  too  cheap  or  inappropriate  inks  on  half-tones  has  been 
made,  the  ink  often  piles  up  on  the  forms,  the  body  of  the  ink  being 
separated  from  the  varnish.  If  this  occurs  a  better  grade  of  ink  must 
be  used.  For  half-tones  it  is  best  to  use  an  ink  with  little  tack,  full 
of  color,  and  of  medium  drying  cjualities.  It  may  be  necessary  to  add 
a  triffe  of  drier,  and  when  the  ink  proves  too  tacky  reduce  carefully 
with  a  little  vaseline. 

With  a  firm  ink  less  color  can  be  carried  and,  yet  good,  clean, 
and  bright  results  be  secured  without  danger  of  offset  which  must 
inevitably  follow  the  use  of  inferior  inks.  The  half-tone  requires  the 
very  best  of  distribution. 

Mottling  is  a  most  trying  experience  to  the  printer,  but,  like 
every  trial  which  perplexes,  it  yields  to  the  inevitable  law  of  “cause 
and  effect.”  Remember,  always,  there  is  no  effect  without  a  cause. 

Several  different  things  may  cause  ink  to  mottle.  If  the  rollers 
are  set  too  low  so  as  to  drag  on  the  form  the  ink  may  mottle  even 

N 


60 


when  a  fairly  good  ink  is  being  used  ;  rollers  should  be  so  set  as  to 
just  kiss  the  form. 

Soft,  mushy  rollers  in  humid  weather,  or  nard,  shrunken  rollers 
in  cold  weather  may  cause  mottling.  Cheap  ink  is  always  liable  to 
mottle  if  not  scientifically  ground  or  if  ground  in  poor  varnish  or  oil, 
as  the  body  will  separate  from  the  varnish  and  remain  on  the  form. 

To  avoid  ink  mottling  on  good  stock  buy  good  ink,  of  heavy 
body,  full  color,  which  will  leave  the  rollers  and  stock  readily.  If 
practical,  send  sample  of  stock  when  ordering  the  ink.  Then,  if  the 
ink  mottles,  which  will  seldom  occur,  the  manufacturer  will  replace 
the  ink  with  a  better  quality. 

Use  ink  full  strength  if  stock  will  permit,  reducing  as  little  as 
possible,  for  by  so  doing  you  can  get  best  results  and  carry  less  ink. 
Sometimes  mottling  can  be  prevented  by  adding  to  the  ink  a  few 
drops  of  sperm  oil,  vaseline,  or  powdered  castile  soap. 

Gold  Size. — It  will  be  readily  seen  that  different  grades  of  stock 
require  very  different  qualities  of  size  for  bronzing,  and  careful  atten¬ 
tion  and  good  judgment  is  necessary  to  decide  this  point.  Coated 
paper  requires  much  more  size  than  a  cheaper  grade  as  the  paper 
absorbs  a  oreat  deal  of  the  size  into  its  coating.  The  essential  point 
is  to  choose  a  grade  of  aize  that,  after  having  given  the  stock  all  it 
will  absorb,  shall  still  have  sufficient  strength  left  to  hold  the  bronze 
firmly. 

Only  in  case  of  a  rush  job  is  it  necessary  to  use  a  quick-drying 
size.  It  may  take  from  six  to  ten  hours  for  the  size  that  has  been 
bronzed  to  dry,  but  that  is  all  right  if,  when  dry^  it  holds  the  bronze 
firmly.  Strong  tenacity  is  absolutely  essential ;  hence  if  a  varnish 
must  be  added  it  should  be  extra  strong,  and  if  it  fails  to  hold  the 
bronze  add  a  few  drops  of  copal  varnish  or  liquid  drier.  To  test 
paper  on  which  a  bronze  job  is  to  be  run,  print  the  size  on  a  sheet 
and  lay  away  for  ten  minutes,  and  if  it  then  takes  and  holds  the  bronze 
it  is  all  right,  for  were  the  paper  such  as  to  absorb  the  varnish  and 
spoil  the  holding  quality  of  the  size  it  would  have  developed  in  ten 
minutes. 

It  is  sometimes  necessary  on  fine  work  to  print  a  coat  of  size  and 
let  it  fill  the  stock,  and  when  dry  print  size  once  more  over  the  first, 
when  bronze  will  hold  firmly  and  give  fine  lustre.  Feeding  the  job 
through  the  press  without  rollers,  after  the  bronze  is  dry,  to  the  same 
forms  as  when  sizing,  presses  the  bronze  smooth  and  close  together^ 
giving  a  fine,  brilliant  lustre. 


INK 

G-old  Size-= 


61 


INK 

Gold  Ink 
'Gold  Leaf 
Copying  Ink 
Gloss 


Gold  Ink  will  not  give  as  bright  and  satisfactory  a  lustre  as 
size  a)id  bronze  forfullface  type  or  fine  ornamentation,  ^'et,  on  cheap 
work,  and  as  a  background  on  which  to  print  borders,  ornaments,  and 
initial  letters  where  a  little  glitter  gives  good  results,  it  is  very  effective 
and  much  cheaper  than  bronze,  as  it  requires  comparatively  little 
labor  in  putting  on.  To  secure  satisfactory  results,  it  must  be  used 
when  freshly  made. 

Gold  Leaf  may  be  put  on  in  the  usual  manner,  with  the  form 
printed  first  in  size,  then  lay  the  gold  leaf  carefully  on  and  press  down 
by  laying  a  sheet  of  enamel'ed  paper  over  the  leaf  and  carefully  press¬ 
ing,  and,  when  partly  dry,  it  can  again  be  passed  through  the  press 
with  same  form,  without  rollers,  as  was  used  to  put  on  t'  e  size,  which 
will  give  it  a  fine  gloss. 


Copying  Ink. — Patience  and  experience  are  necessary  in  the 
proper  use  of  copying  ink.  Sufficient  ink  must  be  carried  to  do  the 
copying  plainly  and  completely,  yet,  if  too  much  is  used  the  copy¬ 
ing  effect  is  very  poor.  Copying  ink  is  commoidy  made  of  glycerine 
.and  aniline  dyes;  hence  the  usual  methods  of  treating  ink  will  not 
answer.  Varnishes,  reducers,  benzine,  etc.,  have  tio  effect  upon  it. 
If  it  runs  too  thin  it  is  because  it  contains  too  much  glycerine.  If  it 
is  so  thick  as  to  diw  quickly  on  rollers  and  disc  mix  in  just  a  little 
glycerine  as  a  reducer;  this  properly  done  will  cause  it  to  work  nicely. 
When  dry  on  the  ink  disc  just  a  few  drops  of  water  wdll  give 
temporary  relief. 

Copying  ink  is  readily  soluble  in  water,  so  that  to  cleanse  the 
rollers  one  has  only  to  take  them  to  the  sink,  quickh’  sponyje  off  the 
ink  with  water  and  wipe  them  dry  with  a  cloth,  which  will  leave  them 
in  prime  condition.  If  copying  ink  is  to  be  used  in  humid  weather, 
when  much  water  will  injure  the  rollers,  first  wipe  off  all  the  ink 
possible,  and  then  with  a  damp  cloth  clean  off  what  remains,  wiping 
dry  as  soon  as  possible. 

Copying  ink  is  always  thinner  in  summer  than  in  winter.  In 
summer  it  should  be  kept  in  a  cool,  dry  place,  and  it  shotdd  always 
be  thoroughly  stirred  in  the  can,  letting  the  spatula  go  well  to  the 
bottom,  before  using. 

A  good  glue  and  molasses  roller,  or  a  firm,  moderately  hard 
roller,  is  best  for  copying  ink. 

To  Get  Gloss  Effects. — A  good,  glossy  ink  is  most  essential 
in  fine  job  work.  To  secure  this  effect  several  things  are  necessary  : 


62 


the  ink  should  be  suited  to  the  stock,  as  firm,  full  body  as  the  stock 
will  permit ;  run  the  ink  full  color  and  have  a  distribution  capable 
of  carrying  a  large  amount  of  ink  with  smooth  results  ;  the  make- 
ready  must  be  well  executed,  firm,  and  quite  hard.  The  cuts  must 
be  so  leveled  up  as  to  take  the  ink  evenly  in  all  parts.  If  the  gloss  is 
not  sufficient  in  the  ink,  carefully  add  a  little  gloss  varnish,  Venice 
turpentine,  or  copal  varnish  ;  these  must  be  thoroughly  worked  into 
the  ink.  They  also  tend  to  cause  it  to  dry  quickly. 


INK 

Varnish 

Labels 

Oily  Surfaces 
nickel  Electros 


To  Varnish  Labels. — It  is  sometimes  desirous  to  give  a  gloss 
to  the  whole  label  and  this  can  be  done  by  printing  a  very  thin  coat 
of  gloss  varnish  over  the  label  with  a  tint' block.  The  gloss  varnish, 
if  used  alone,  would  be  liable  to  prove  too  thin  ;  if  so,  thoroughly 
work  into  it  finely  powdered  magnesia,  which,  being  transparent,  will 
give  body  to  the  varnish  and  not  injure  the  appearance  of  the  job. 
A  fine  effect  can  be  secured  by  printing  over  a  label  or  other  ]ob 
with  a  large  tint  block  and  an  ink  made  of  magnesia  tinted  a  little 
with  an  appropriate  color  and  to  which  considerable  gloss  varnish 
has  been  added. 


Printing  on  Oily  Surfaces. — Ordinary  ink  and  oily  surfaces, 
waxed  papers,  etc.,  make  a  very  poor  combination.  Yet,  if  fully 
understood,  they  need  give  the  printer  little  trouble.  Use  a  firm, 
good  quality  of  quick-drying  ink  and,  if  necessary,  add  more  drier  to 
it.  Carry  just  as  little  ink  as  possible  to  do  the  work  well  and  do 
not  pile  the  printed  sheets  too  high.  Mix  only  sufficient  ink  for  the 
job  in  hand,  and,  if  leaving  the  press  for  many  minutes,  clean  off  the 
form,  rollers,  and  disc,  as  the  ink  hardens  rapidly. 

For  parafined  or  heavily  oiled  stock,  add  to  a  strong  ink  the 
following  mixture  in  the  proportion  of  eight  drops  to  a  cubic  inch  of 
ink  :  copal  or  damar  varnish  and  Venice  turpentine  in  equal  pro¬ 
portions,  well  shaken.  With  little  of  this  ink  carried  on  the  rollers,  a 
sufficiently  firm  impression  to  force  the  ink  well  into  the  stock,  and 
the  press  kept  constantly  moving  good  results  may  be  expected. 

Nickel-Plated  Electros. — Nickel-plated  electros  wear  much 
longer  than  those  without  nickeling.  If  red  ink,  or,  in  fact,  any  ink 
in  which  chemicals  that  eat  away  the  fine  lines  are  to  be  used  the 
plates  must  be  nickeled. 


63 


IM 


Electros 

Boilers 


Most  red  ink  contains  mercury  which,  many  times,  will  destroy 
the  face  of  electros  in  a  few  hours.  Hence  for  long  runs  nickeling 
in  these  cases  becomes  imperative. 

Rollers. — The  most  perfect  skill  on  composition,  presswork, 
color  mixing,  etc.,  will  avail  little  unless  the  ink  rollers  are  adapted 
to  the  work  in  hand.  It  is  only  with  good  rollers  that  first-class  work 
is  possible. 

Good  rollers  do  not  always  mean  new  rollers.  The  very  fact 
that  rollers  are  new  may  unfit  them  for  use  on  certain  work.  It  is 
absolutely  necessary,  then,  to  understand  not  only  the  special  care 
necessary  for  different  grades  of  rollers  but  also  just  what  rollers  give 
best  effects  on  different  grades  of  work.  For  instance,  vermillion  red, 
peacock  blue  and  some  shades  of  green  are, difficult  colors  to  distrib¬ 
ute  evenly,  except  when  handled  understandingly.  For  this  work  a 
thoroughly  seasoned,  dry,  elastic,  and  not  top  tacky  roller  is  very  essen¬ 
tial.  To  use  a  new,  tacky,  and  soft  roller  on  such  work  would  be  to 
invite  failure.  In  many  places  the  glycerine  roller  gives  good  satis¬ 
faction  while  on  such  work  as  above  and  on  copying  ink,  gold  size, 
etc.,  glue  and  molasses  rollers  are  best.  The  glue  and  molasses  rol¬ 
lers  require  veiy  different  treatment  from  those  made  with  glycerine; 
molasses  rollers,  when  good  and  tacky,  should  be  protected  by  a  coat 
of  cheap  ink  when  not  in  use  to  keep  the  air  from  them,  and,  if  they 
are  becoming  too  hard,  they  should  be  sponged  off  with  water  before 
using,  and  at  night  the  ink  cleaned  off  and  roller  put  in  sweat-box 
until  it  regains  its  life  and  tack.  By  carefully  watching  the  condition 
of  rollers  it  is  possible  to  double  the  length  of  their  life. 

If  a  glycerine  roller  becomes  hard  and  lifeless  it  may  be  neces¬ 
sary  to  first  clean  thoroughly  at  night,  and  then  give  them  a  coat  of 
glycerine,  which  must  be  thoroughly  cleaned  off' in  the  morning. 

The  roller  that  works  perfectly  in  winter  will  be  so  soft  as  to  melt 
on  the  first  hot  day  in  June  ;  hence  for  economy’s  sake  as  well  as  in 
the  interest  of  clean  printing,  one  must  have  summer  and  winter  rollers. 
If  these  rollers  were  made  new,  say,  one  month  before  time  for  use  in 
the  autumn  so  they  are  well  seasoned,  and  have  been  intelligently  cared 
for  during  the  winter,  they  will  be  in  good  condition  when  the 
weather  becomes  too  hot  for  a  soft  roller  and  can  be  thoroughly 
cleaned,  given  a  coat  of  oil  to  protect  from  the  air,  and  put  away  care¬ 
fully,  ready  for  use  once  more  the  following  autumn.  While  had  they 


G4 


been  put  at  once  into  use  w;hen  made  without  seasoning  and  given 
only  ordinary  care  they  would  have  been  ruined  in  one  season.  , 

In  their  place  bring  out  the  last  year’s  summer  rollers  which 
were  carefully  put  away  in  the  autumn  and  you  have  a  hard,  well 
seasoned,  and  yet  sufficiently  tacky  roller  that  will  carry  you  through 
the  hot  and  humid  summer  weather  without  trouble,  while  a  roller 
just  cast  even  from  summer  composition  would  likely  have  failed  during 
those  days  of  terrible  humidity  and  heat. 

A  great  amount  of  annoyance,  trouble,  and  expense  is  saved  by 
proper  forethought  in  providing  rollers  in  advance  and  then  caring  for 
them  according  as  conditions  of  roller  and  wxather  require.  These 
well  seasoned  rollers  also  often  come  in  nicely  for  a  job  requiring  a 
good,  firm  roller  with  little  tack. 

When  possible,  a  different  roller  should  be  used  for  each  color, 
but,  if  this  is  not  possible,  then  the  roller  must  be  thoroughly  cleaned  ; 
especially  on  the  ends  and  in  any  cracks  containing  ink,  as  the  least 
particle  of  old  ink  will  defile  and  ruin  a  light  color.  In  case  of  a 
light  tint 'it  is  often  necessary  to  clean  up  rollers  and  disc  two  or  three 
times  before  rollers  are  ready  to  give  true  color.  Generally  in  sum¬ 
mer  if  rollers  are  too  soft  and  mushy  it  is  best  to  clean  ink  off  and 
leave  the  rollers  exposed  to  a  cool,  dry  air  over  night,  but  this  must 
not  be  done  blindly ;  first,  be  sure  the  roller  is  too  soft.  If  a  soft 
roller  is  exposed  to  a  blast  of  cold  air  it  will  tend  to  harden  and  fit  it 
for  use  in  humid  weather,  but  when  too  soft  and  sticky  and  the  cold 
iiir  blast  is  not  possible  a  light  coat  of  finely  powdered  alum  rubbed 
over  the  surface  of  the  roller  and  then  brushed  off  will  give  it  a  fine, 
soft,  velvet  surface.  This  remedy  will  need  to  be  repeated  day  after 
day,  as  often  as  roller  becomes  too  tacky. 

In  winter  or  when  a  roller  is  inclined  to  become  too  hard  the 
treatment  must  be  just  the  reverse.  Protect  the  rollers  from  the  air, 
clean  iiik  off  just  before  using  in  morning,  or  coat  over  night  with 
cheap  ink,  oil,  or  glycerine,  according  to  the  kind  of  roller.  If  the 
ink  to  be  left  on  the  roller  is  inclined  to  harden  during  the  night,  just 
distribute  oil  on  the  rollers  and  disc  thoroughly  and  sufficiently  to 
saturate  the  ink,  then  clean  up  the  disc  and  press  and  in  the  morning 
the  ink  and  oil  on  the  rollers  will  clean  off  with  surprising  ease. 
Always  clean  the  rollers  and  note  their  condition  before  putting  them 
into  the  press. 


ROLLEES 


05 


ROLLEES 

Composition 


Rollers  on  a  cylinder  press  give  unexperienced  pressmen  much 
trouble  by  cracking  on  the  unused  end.  When  the  form  only  uses,, 
say,  one  half  of  the  length  of  the  roller,  if  the  ink,  possibly  quick  dry¬ 
ing,  is  distributed  over  the  whole  length  of  the  rollers  it  soon  accumu¬ 
lates,  hardens,  then  tears  and  ruins  the  unused  ends.  To  avoid 
this  too  common  trouble  it  is  only  necessary  to  divide  the  fountain 
and  put  news  ink  reduced  with  boiled  linseed  oil  in  the  unused 
end  and  shut  off  the  flow  of  ink  as  closely  as  possible.  This  ink 
will  not  harden  or  tear  the  rollers. 

Never  partition  off  the  fountain  and  run  the  end  of  the  rollers- 
without  any  ink,  for  that  also  will  ruin  them.  Oil  or  thin,  cheap  ink 
without  any  drier  causes  them  to  run  smoothly  without  friction  or  wear.. 


Heat  and  cold  affect  ink,  rollers,  and  machines,  and  must  be 
carefully  noted.  Cold,  hard  rollers  will  not  take  up  cold  ink,  nor 
distribute  it  on  iron  ink  plate  as  freely  or  as  well  as  if  all  the  parts- 
are  warm  and  properly  cared  for.  Just  so  the  contracting  of  the  iron 
of  the  fountain  by  cold  prevents  as  large  a  flow  as  will  come  when 
the  machine  becomes  warm.  It  is  necessary,  then,  to  see  that  the 
office  does  not  become  sufficiently  cold  at  night  to  cause  rollers,  press,, 
and  ink  to  hinder  the  work  in  the  morning.  Unless  this  is  carefully 
attended  to,  an  hour  or  more  will  be  wasted  every  morning  in  winter. 

Judgment  is  also  necessary  in  the  simple  matter  of  cleaning 
rollers.  Many  different  materials  are  used.  If  the  roller  is  old.  hard, 
and  covered  with  copying  ink  a  copious  bath  of  water  will  do  it  good, 
but  if  it  is  already  too  soft  it  is  best  to  sponge  off  with  a  little  water 
and  then  wipe  dry.  Benzine  is  not  as  injurious  to  rollers  as  is  often 
claimed,  but  its  quick  evaporation  tends  to  harden  the  surface.  Tur¬ 
pentine  and  kerosene  oil  clean  rollers  nicely  and  leave  them  in  prime 
condition,  when  wiped  clean. 

Nothing  removes  the  ink  from  a  roller  quite  so  neatly  and  easily 
as  distributing  kerosene  or  machine  oil  on  rollers  thoroughly,  and 
after  it  has  stood  for  a  little  wipe  oft'  with  a  dry  cloth.  The  condition 
of  rollers,  ink,  etc.,  must  determine  which  method  shall  be  used. 

Roller  Composition. — As  a  rule,  ready-made  roller  composi¬ 
tion  is  just  as  cheap  as  home-made,  besides  saving  mucli  inconvenience 
and  many  trials.  And  it  will  in  many  instances  make  a  more  lasting 
and  serviceable  roller. 

Yet  there  are  times  and  cases  when  the  character  of  the  work  is- 


66 


such  as  to  require  a  first-class  glue  and  molasses  roller;  when,  in  fact, 
the  desired  results  cannot  be  secured  without  such  a  roller.  Hence 
below  is  given  instructions  for  making  a  good  glue  and  molasses 
roller  composition. 


EOLLERS 

Composition 

Makeready 


Composition  for  Rollers. — To  seven  pounds  of  melted  glue 
add  one  gallon  of  sugar-house  molasses,  one  half  pint  of  glycerine 
and  just  a  little  Venice  turpentine.  These  proportions  are  for  a 
medium  temperature.  For  very  hot  or  very  cold  weather  a  slight 
change  is  necessary.  The  glue  must  be  clear  and  brittle.  Moisten 
the  glue  in  water  until  it  has  soaked  half  through,  then  drain  oft 
all  the  extra  water  and  melt,  adding  molasses  and  cooking  thoroughly, 
not  quite  boiling,  watching  carefully  to  see  that  it  does  not  burn. 
Finally  add  the  other  ingredients  and  let  it  cool  fifteen  minutes  before 
skimming  and  pouring. 


Economy  in  Makeready. — That  in  many  offices  much  more 
time  is  consumed  on  makeready  than  is  necessary  is  a  well  known 
fact.  This  gives  many  a  careful  employing  printer  great  annoyance. 

It  goes  without  saying  that  Elbert  Hubbard,  the  writer  of  the 
following  lines  is  a  printer  of  much  experience,  and  has  tried  in  vain 
to  find  faithful  assistants.  In  “A  Message  to  Garcia”  he  writes: 

No  man,  who  has  endeavored  to  carry  out  an  enterprise  where 
manv  hands  were  needed,  but  has  been  well  nigh  appalled  at  times 
by  the  imbecility  of  the  average  man — the  inability  or  unwillingness 
to  concentrate  on  a  thing  and  do  it.” 

But  few  men  have  sufficient  ambition  and  purpose  to  take  one 
thing  to  do  and  do  that  one  thing  well.  Too  many  men  are  pressmen 
today  who  never  devote  an  hour  to  study  and  if  asked  to  study  would 
stare  in  open  amazement  and  ask  you  :  “  Study  what  ?”  It  is  not 

that  pressmen  are  willfully'  wasteful  of  time,  but  habit  and  a  dislike 
to  change  from  their  own  way  and  unwillingness  to  make  the  effort  to 
think  even,  causes  many  otherwise  good  pressmen  to  putter  and  con¬ 
sume  three  or  four  times  as  much  time  on  a  makereadv  as  is  necessary. 
In  the  first  place,  many  pressmen  neglect  to  even  up  the  impression  at 
the  very  start;  hence  practically  doing  by  an  hour’s  makeready^  what 
ought  to  have  been  done  with  the  impression  screws  in  a  moment’s  time. 

The  following  hints  on  the  method  of  makeready^  are  in  no  sense 
a  detailed  instruction,  but  simply  an  outline  of  the  vital  points  which 
must  be  followed  in  order  to  secure  the  best  makeready  in  the  shortest 
possible  time. 


G7 


MAKE- 

READY 

Packing 

Underlaying 

Overlaying 


See  that  the  form,  if  possible,  is  locked  up  just  a  trifle  below  the 
centre  of  the  chase.  Place  the  chase  always  firmly  to  the  left  side  of 
the  press,  simply  to  form  the  habit  of  always  putting  it  just  the  same, 
so  that  the  register  shall  not  vary. 

Packing. — Use  one  thickness  of  card  or  press  board  next  the 
iron,  with  three  sheets  of  packing  beneath  the  two  tympan  sheets. 

In  case  it  is  a  heavy  card  to  be  printed,  the  press  board  in  tympan 
can  be  omitted. 

If  the  job  is  an  envelope  or  on  some  coarse,  rough  stock  or  a  very 
large  plate  form,  more  soft  packing  will  be  required.  Judgment 
should  be  added  with  the  packing. 

But  on  all  open  work,  rule  wmrk,  close  register  work  and  any¬ 
thing  on  which  clear,  firm  work  is  required,  the  less  packing  used 
the  better  the  result.  Keep  close  to  the  iron  and  then  be  careful 
of  your  impression.  ^ 

Before  doing  any  makeready  level  up  the  platten  with  the 
screws,  getting  just  as  perfect  an  impression  as  possible,  as  by  so  doing 
hours  of  makeready  can  be  saved  on  every  job. 

On  all  small,  short  runs,  nearly  all  the  makeready  should  be 
done  by  leveling  up  either  by  the  screws  or  by  underlays. 

Underlaying. — When  the  form,  either  plate  or  type,  has  been 
properly  leveled  up  with  the  impression  screws,  then  underlay  to  first 
make  sure  that  it  is  sufiiciently  high  to  give  the  ink  rollers  a  good  ink¬ 
ing  impression.  Then  underlay  judiciously  to  raise  any  low  spots  in 
the  form,  so  that  the  surface  may  be  as  even  as  possible  before  com¬ 
mencing  overlay. 

Never  use  tissue  paper  for  underlays.  Always  use  a  hard  paper, 
and  as  few  thicknesses  as  possible  to  avoid  springing  of  form.  It  is 
often  best  to  place  the  underlays  between  the  plate  and  base,  being 
careful  to  do  it  accurately.  Thus  by  once  underlaying,  the  form  is 
already  underlayed  for  future  runs.  Never  let  underlays  project  out¬ 
side  of  base  of  form. 

Overlaying. — Having  carefully  leveled  up  the  form  and  raised 
the  low  places,  pull  a  good,  well-inked  proof  on  its  own  paper,  and 
if  any  low  places  remain  carefully  mark  out  and  OYxrlay  on  the  proof 
which  has  previously  been  printed  on  second  tympan  sheet. 


68 


Do  not  build  up  a  spongy,  tissue  overlay.  It  is  not  workmanlike.  MAKE- 
Carefully  cut  out  and  paste  on  one,  two,  or  three  overlays  as  is  neces-  I{,EADY 
sary  with  a  sheet  of  tissue,  ten  pound  folio,  and  the  stock  of  the  job  in 
hand  if  it  is  a  hard  stock.  Electricity 

If  the  form  contains  a  half-tone,  you  now  have  a  proof  which 
can  be  used  intelligently  for  makeready. 

Do  not  paste  the  different  overlays  onto  different  sheets  of  the 
packing.  Carefully  cut  out  the  high  lights  from  one  overlay  and  the 
deep  shades  from  another  and  the  medium  ones  from  the  third,  and 
accurately  paste  together,  and  then  paste  securely  over  the  proof  of 
the  cut  on  the  tympan.  If  necessary,  cut  out  light  parts  from  tympan. 

Time  is  money,  and  by  following  these  instructions  one  will 
shortly  learn  to  save  much  valuable  time. 

There  are  many  pieces  of  work  which  require  a  different  treat¬ 
ment  in  packing,  makeready,  and  cutout  overlays  from  the  above. 

For  the  general  run  of  every-day  work  these  hints  will  be  found  most 
helpful. 

Ej.ectricity — One  of  the  most  prolific  sources  of  trouble  in  the 
pressroom  has  been  electricity  in  the  paper.  Printers  the  world  over 
have  tried  in  vain  to  overcome  this  difficulty.  Electricity  in  the  stock 
makes  it  impossible  to  jog  the  paper  accurately  from  the  fly,  besides 
it  causes  offset  and  smut  on  work  which  would  otherwise  run  all  right. 

All  the  attempts  have  been  to  either  keep  the  electricity  out  of  the 
paper  or  else  to  take  it  out  before  it  reaches  the  jogger.  But  it  mat¬ 
ters  little  how  many  rows  of  needles,  connected  with  a  ground  wire, 
the  paper  passes  over,  or  how  much  damp  paper  or  cloth  may  be 
used  around  the  press,  still  it  is  there.  Only  one  method  will  effect¬ 
ually  overcome  this.  It  is,  of  course,  essential  to  completely  surround 
the  sheet  with  some  good  conductor  which  shall  carry  away  the 
electricity  from  it  as  it  leaves  the  cylinder,  while  in  the  air  on  the 
tapes.  If  there  is  a  steam  pipe  in  the  room  it  becomes  easy.  If 
not,  boil  water  in  a  large,  open  dish,  over  a  hot  fire  in  the  press¬ 
room  and  sprinkle  the  floor  round  the  press  with  hot  water.  The 
writer  heats  the  pressroom  by  a  circulation  of  hot  air,  and  when  elec¬ 
tricity  troubles  it  is  simply  necessary  to  turn  a  steam  valve  letting  live 
steam  into  the  hot  air  pipes  and  soon  the  air  of  the  pressroom  is  so^ 
charged  with  moisture  that  the  electricity  silently  steals  away. 

To  a  great  extent,  the  paper  mills  are  responsible  for  the  elec¬ 
tricity  in  stock.  Hence  if  paper  is  received  which,  when  cut  up 


09 


HLEO- 

TEIOITY 


and  exposed  to  the  air,  instantly  curls  up,  rolls,  and  refuses  to  lay  flat 
it  is  well  to  hold  the  mills  responsible,  in  order  that  they  shall  use 
more  care  in  making  the  paper  as  free  as  possible  from  electricity. 
Such  paper  is  a  means  of  great  expense  and  loss  of  time. 

It  is  noticeable  that  paper  brought  in  from  a  cold  stock  room  is 
more  apt  to  be  charged  with  electricity.  The  same  paper  if 
kept  in  an  even,  hot  air  for  a  few  days  will  give  little  trouble. 
Hence  it  is  advisable  to  bring  the  stock  into  the  warm  pressroom  as 
long  before  using  as  possible. 

Coating  the  cylinder  with  oil  or  patent  annihilators  will  also  aid  in 
reducing  the  generation  of  electricity  while  printing.  In  some  espec¬ 
ially  stubborn  cases  it  will  be  necessary  to  resort  to  a  combination  of 
all  the  above  methods  in  order  to  wholly  overcome  the  difficulty. 


70 


V 


JOB  WORK. 


HERE  are  three  classes  of  printing ;  first, 
work  where  everything  is  sacrificed  to  cheap¬ 
ness,  regardless  of  quality  ;  second,  the  every¬ 
day  run  of  job  work,  which  must  be  fairly 
well  done,  yet  is  desired  to  be  rushed  and 
gotten  out  almost  as  cheaply  as  the  inferior 
work;  the  third  kind,  is  work  where  cost  is 
considered  last,  and  quality  of  stock,  work¬ 
manship,  inks,  harmony,  and  effect  are  the 
first  great  considerations.  This  treatise  has  nothing  in  common  with 
the  first  grade  of  printing,  unless,  perchance,  by  reference  to  the  sec¬ 
ond  grade  and  a  plea  for  a  higher  standard  all  along  the  line  that  it 
may  tend  to  lift  cheap  work  out  of  its  deep  rut  of  carelessness,  ignor- 
.ance,  and  indifference.  It  is  not  cheaper  except  in  quality ;  it  is 
poorer,  simply  by  neglect,  hurry,  and  habit. 

The  Every-day  Run  of  Job  Work  is  the  work  which  the 
customer  expects  to  look  clean,  neat,  and  tasty  ;  often  wants  it  quickly, 
and  always  just  as  cheaply  as  some  one  else  did  it  for  the  last  time  ; 
and  is,  in  fact,  the  work  which  employs  most  of  the  time  of  the  average 
printer.  It  is  in  the  interest  of  this  class  of  work  that  it  is  purposed 
in  this  book  to  bring  out  and  combine  in  practical  forms,  different 
suggestions  and  helps  whereby  the  every-day  work  shall  be  produced 
just  as  cheaply  as  at  present,  and  yet  much  more  perfectly  and  in  a 
more  satisfactory  manner  than  in  the  past. 

Not  one  in  a  hundred  realizes  why  it  is  that  a  certain  piece  of 
printing  is  so  pleasing  to  the  eye,  yet  everjone  admires  it. 

Why  ? 

It  is  the  simple  rule  of  cause  and  effect ;  no  accident ! 

The  printer  thoroughly  understood  both  harmony  of  types,  and 
colors,  and  ornaments;  hence*  the  work  was  good,  and  good  work 
always  tells.  Had  the  same  work  been  done  by  an  equally  willing, 
energetic  printer  who  was  ignorant  of  the  laws  of  harmony,  there 


71 


JOB  WORK 

Oomparisons 


would  have  been  such  confusion  of  fancy  and  plain  faces,  ornaments,.. 
colors,  etc.,  that  while  much  more  work  had  been  bestowed  upon  it,, 
yet  simplicity  and  harmony  being  lacking,  it  would  fail  to  please,  not 
only  those  of  good  taste,  but  even  the  untrained  eye  which  could  no^ 
distinguish  the  why  of  its  inferiority. 


:  an  EAHAUSfiVC  SfUoy 

mmmrnmiii 

“/I  l\90u;l<^d(J(^ 

15  a  da9(5<^rotJ$ 

i- 

^J^rcicticciC  Coforio^l-  i.^  not  to 

I  Wlich  i 

bo  oecrb  but'  ^tfitbicb.  3to  bcnoo  bo 

not  .itctnb  crCovve.  tcrlicu  iivbc- 

pcubciit  o[^  hfieio  t:c(’citiotv  to  cciofv 

otlier  iiv  ignorcinco  o|?  tbe  Irv- 

jYticnco  ooi4to  otboo  fat4> 

exert  oueo  hfveitr,  tfvcii  luifb  uii;3- 

WrnMJ&m 

Peetb.  ^  broetb,  exbci  ti.>ti  ue  ^tii  brj- 
oj-’  e  uc  r  ly  betci  i  C  ie  iiior»t  eoeejificib 
to  oiicce.>.>. 

i  ® ® 

Above  is  given  an  example  of  fancy,  difficult  effects  as  compared' 
with  simplicity ;  the  first  example  is  read  with  extreme  difficulty  while- 
the  second  is  read  Vvdth  perfect  ease.  Several  other  important  points 
are  also  illustrated.  Note  the  two -settings ;  the  difference  in  the 
headlines,  also  the  effect  of  whiting  out  both  around  the  body  of  the- 


type,  in  the  omitting  of  sufficient  ornaments  to  let  in  the  light.  This 
first  setting  is  a  trifle  overdrawn  in  order  to  show  plainly  the  contrast 
between  plain  and  fancy  type  faces.  Comparisons  always  result  in 
favor  of  simplicity,  less  ornament,  and  more  white  space.  Com¬ 
parison  is  a  great  educator. 


An  Exhaustive  Study 


54?  Si? 


WHICH 


? 


*A  little  knowledge  is 
a  dangerous  thing.^^ 

The  Practical  Colorist  is 
not  to  be  read  but  studied. 
Its  laws  do  not  stand  alone. 
If  taken  independent  of  their 
relation  to  each  other  and  in 
ignorance  of  the  influence 
some  other  law  may  exert 
over  them,  they  will  mis¬ 
lead.  An  exhaustive  study 
of  every  detail  is  essential. 


Good  but  Cheap  Work,  then,  can  be  produced  at  a  less  cost 
than  the  average  poor  work,  if  only  the  operator  is  expert ;  knows  at 
a  glance  the  how  and  what,  so  that  at  the  frst  trial  just  the  proper 
harmonies  of  both  composition  and  colors  are  secured.  Such  a  com¬ 
positor  and  pressman  will  spend  less  than  half  the  time  on  a  given 


JOB  WOEK 

Good  but 
Cheap  Work 


73 


JOB  WOEK 

Simplicity 


job  than  an  inferior  workman  will  require,  and  yet  he  will  give  effects 
far  beyond  the  possibilities  of  the  unskilled  workman.  Nothing  is 
truer  than  the  remark  of  an  employing  printer:  “I  do  not  care  what 
wages  he  may  demand  so  he  is  worth  it.” 

It  is,  then,  by  fully  mastering  the  fundamentals  and  becoming 
familiar  with  putting  them  into  every-day  use,  that  one  can  produce 
a  high  grade  of  work,  and  yet  have  the  cost  no  more  than  that  of 
inferior  work. 

A  little  better  paper,  more  tasty  display,  less  variety  of  type, 
appropriate  ornamentation,  a  brilliant,  fine  ink,  and  possibly  a  touch 
of  a  second  color  in  ornament,  underscore,  or  rule  to  illuminate  the 
page  will  cost  little  or  no  more  ;  it  will  not  only  give  the  printer  self- 
respect,  but  it  will  so  please  the  customer  that  ever  after  his  work  will 
come  to  the  man  who  succeeded  in  so  pleasing  him. 

One  may  spend  money  lavishly  in  advertising,  and  if  he  does 
inferior  work  either  in  composition  or  presswork  it  will  not  hold 
trade.  But  the  investment  of  an  hour’s  time,  a  few  cents’  worth  of 
good  ink,  and  a  thorough  knowledge  of  the  business  will  keep  one’s 
shop  crowded  with  the  best  class  of  w^ork. 


Simplicity  is  too  often  lost  sight  of  in  the  attempt  to  secure 
striking  efiects.  Simplicity  in  composition  and  illumination  must  be 
the  rule ;  is  the  rule  of  the  artist  printer.  It  is  neither  rules,  orna¬ 
ments,  nor  fancy,  illegible  types  that  are  to  be  read,  but  the  plain, 
neatly  printed  type  page.  So,  then,  give  a  wide  berth  to  all  types  that 
cannot  be  read  at  the  first  glance.  They  do  not  advertise,  cannot;  the 
world  has  no  time  to  waste  on  puzzles. 

A  great  deal  of  so-called  decorative  printing  is  actually  painful  to 
the  eye  of  the  artist  printer,  for  it  is  simply  the  result  of  one’s  strug¬ 
gling  in  ignorance  of  how  to  attain  the  marvelous  beauties  of  real  har¬ 
mony  and  striving  for  efibct  without  realizing  the  cause. 

j\Iany  pieces  of  otherwise  careful  work  fail  for  want  of  simplicity, 
harmony,  and  appropriateness.  Just  as  one  type  face  is  appropriate 
for  one  class  of  w^ork  and  not  at  all  so  for  another,  so  it  is  with  inks 
and  their  various  tones,  hues,  and  tints. 

It  is  readily  seen  that  neither  a  script  type  nor  a  light  tint  of  ink 
should  be  used  on  a  poster.  Admitting  this,  you  see  the  fundamental 
principle,  suitableness,  or  fitness  of  type  and  inks  for  the  job  in  hand. 
It  becomes  necessary,  then,  to  educate  the  taste  by  carefully  studying 
every  sample  of  printing  that  comes  in  your  path.  Not  only  admiring, 
but  analyzing  for  the  cause  of  the  effect.  Why  are  the  ink  effects  so 


74 


harmonious  ?  What  law  governed  the  selection  of  the  inks  ?  Why 
did  the  compositor  confine  himself  strictly  to  one  series  of  types  ? 
Why  did  he  put  the  border  and  cross  rule,  or  tint,  beneath  the 
initial  letter,  or  the  ornament  and  underscore  in  red,  instead  of  doing  so 
with  the  most  important  display  line  ?  There  are  so  many  questions 
arising  as  we  carefully  study  each  job,  and  so  much  maybe  learned  in 
this  way,  and  the  eye  trained  to  such  a  delicate  perception  ;  all  of 
which  are  of  such  infinite  value  to  the  printer  that  the  importance  of 
studying  the  work  of  artist  printers  cannot  be  urged  too  strongly. 

Harmony  goes  hand  in  hand  with  simplicity;  the  work  must  be 
plain  and  simple  that  it  may  not  interfere  with  the  telling  of  its  story 
so  plainly  that  he  who  runs  may  read  ;  it  must  be  harmonious  that  it 
may  not  only  not  offend,  but  that  it  may  so  attract  and  please  as- to 
command  the  attention  even  of  the  indifferent. 

The  purpose  of  using  ornaments  or  colors  is  simply  to  make  the 
printed  page  more  attractive,  forceful,  and  valuable.  The  true  artist 
does  not  strive  to  see  how  much  ornamentation  or  how  many  colors 
he  can  crowd  into  a  job,  but  rather  how  few  can  be  used  and  make  it 
most  simple  and  effective.  Even  when  printing  in  but  one  color,  he 
never  adds  a  second,  unless  by  so  doing  force  and  character  can  be 
secured. 

fust  a  touch  of  color  properly  placed  illuminates  the  page 
admirably  if  the  colors  are  harmoniously  chosen. 

Oftentimes  pleasing  results  are  obtained  by  the  application  of  the 
law  of  harmony  of  analogy  or  contrast  between  paper  and  ink,  even 
apparently  securing  two-color  effects. 

The  first  two-color  effect,  then,  is  obtained  from  the  color  of  ink 
and  paper.  This  is  well  illustrated  on  the  display  pages.  White, 
the  complement  of  black  by  contrast,  brings  it  out  in  its  fullest 
intensity,  making  it  not  only  more  striking  in  its  effect  upon  the  eye 
than  when  printed  on  any  other  color,  but  the  most  effectual  of  all. 
It  is  no  accident  that  black  on  white  is  used  more  than  all  else.  Here, 
then,  is  the  “why”  the  prominent  display  line  should  be  printed 
in  black  instead  of  red,  as  black  affects  the  eye  most. 

If  red  is  to  be  used,  it  may  better  be  a  red  underscore  to  make 
even  more  forceful  the  black  line.  By  printing  on  a  tinted,  colored 
paper,  with  an  ink  of  a  deep  tone  or  hue  of  the  same  color  many 
pleasing,  restful,  yet  most  attractive  results  may  be  obtained.  Strik¬ 
ing  illustrations  of  these  are  given  in  the  initial  pages. 


JOB  WOEK 

Harmony 

Color 


75 


JOB  WORK 

Control  the 
Home  Field 
Ad  Writing 


When  using  a  tinted  paper  with  only  one  or  two  harmonious 
colors  one  is  sure  to  get  results  far  more  pleasing  than  are  commonly 
secured  by  three  or  four-color  combinations. 

The  two-color  illustrations,  which  are  given  later,  give  striking 
proof  of  these  facts,  which  are  referred  to  more  fully  in  these  illus¬ 
trations. 


Control  the  Home  Field. — The  aim  of  every  energetic  printer 
should  be  to  control  the  home  field  as  completely  as  possible.  To  do 
this  it  is  necessary  to  anticipate  the  needs  of  all  possible  customers. 
This  can  be  done  only  by  frequently  taking  an  hour  for  perfect,  unin¬ 
terrupted  thought,  when  the  busv  world  is  at  rest,  and  go  over  in 
detail  the  individual  needs  of  the  various  business  interests  in  your 
locality.  It  is  onl}^  by  an  acute,  bold  grasp  of  the  whole  field,  and 
letting  the  public  realize  that  you  are  always  ready  with  new,  attrac¬ 
tive,  and  forceful  methods  of  securing  publicity  that  success  in  its  high¬ 
est  form  is  possible.  Use  these  methods  in  informing  customers  of 
your  willingness  not  only  to  do  the  printing  but  to  originate  style,  etc. 

Do  not  attempt  to  go  out  of  your  own  line  of  business,  at  least 
until  you  have  fully  improved  all  its  possibilities.  But  be  sure  the 
whole  field  is  occupied.  If  jDossible,  give  your  customers  such  tasty, 
perfect  printing,  with  up-to-date  methods  and  colors,  that  they 
will  not  go  away  from  home,  not  even  for  engraved  or  lithographed 
work.  Control  all  the  work  even  that  like  the  engraved  cards  which 
must  be  ordered  from  away.  Be  so  obliging  and  universally  anxious 
to  please  that  everyone  will  come  for  you  to  order  for  them  whatever 
they  want  in  your  line. 

Develop  the  field.  It  has  by  far  more  possibilities  than  one 
realizes.  If  work  is  being  sent  away  there  is  a  reason  for  it ;  find 
that  reason  and  remove  it. 

Advertisement  Writing. — Eveiy  office  should  number  on  its 
staff  one  man  who  makes  a  study  of  advertising,  its  writing,  arrang¬ 
ing,  and  display  by  means  of  which  the  largest  possible  publicity  can 
be  secured.  Many  business  men  have  not  the  time  or  ability  to  write 
pulling  advertising.  In  fact,  they  thoroughly  appreciate  the  man 
who  drops  in  regularly  ;  seems  to  have  the  interest  of  their  business  at 
heart,  and  always  is  able  to  suggest  some  new  arrangement  for  bring¬ 
ing  their  goods  to  public  notice.  The  “ad  man”  should  not  only  know 
how  to  write  and  design  advertisements  but  he  must  also  be  a  social,  gen¬ 
ial  solictor,  one  who  is  always  welcomed  wherever  business  takes  him. 


76 


In  this  one  point  of  fitness  to  meet  business  men  on  their  own  level  a 
great  deal  depends;  then  it  becomes  a  comparatively  easy  matter 
.after  dexterously  learning  of  a  desire  for  some  new  feature,  to  suggest 
a  novelty  in  a  folder,  a  private  mailing  card,  or  a  tasty  two  or  three- 
color  bit  of  dainty  printing  just  to  appeal  to  the  better  class  of  trade. 
In  a  familiar  way,  talking  over  the  details,  he  learns  more  of  his  cus¬ 
tomer’s  needs  and  is  able  before  his  next  call  to  carefully  elaborate  a 
plan  or  piece  of  advertising  that  shall  so  please  and  profit  the  cus¬ 
tomer  as  to  win  praise,  gratitude,  and  much  future  patronage. 

All  this  means  systematic  study,  daily  and  hourly,  in  fact,  it 
means  that  one  must  be  so  in  love  with  his  work  that  one  customer  or 
another  is  constantly  in  his  thoughts.  This  is  a  broad  field,  it  requires 
a  broad  mind.  The  mind  that  follows  it  honestly  will  broaden  most 
rapidly.  There  is  nothing  like  this  constant  touching  of  elbows  in  a 
business  way.  It  is  one  of  the  successful  methods  of  laying  a  founda¬ 
tion  for  a  thoroughly  prosperous  business.  It  insures  a  uniformly 
busy  office  with  no  dull  times. 

Lithographed  Work. — There  are  many  business  firms  which 
believe  that  their  checks,  drafts,  letter  heads,  statements,  etc., 
must  be  lithographed.  Always  give  a  customer  what  he  wants, 
unless  it  can  be  made  plain  to  him  that  something  else  is  for  his 
advantage.  So,  if  he  insists,  procure  the  lithographed  work  from  some 
firm  which  will  give  a  reasonable  commission  on  orders.  By  a  little 
explanation  it  will  often  be  possible  to  convince  customers  that  you 
can  exactly  duplicate  his  lithographed  work.  If  so,  take  one  of  his 
letter  heads  (a  perfect,  unfolded  sheet)  and  send  to  your  engraver 
and  he  will  make  you  a  process  plate  from  which  you  can  print,  using 
bright  blue  black  ink,  securing  surprisingly  fine  results,  rivaling  the 
lithograph,  yet  costing  but  a  small  fraction  as  much.  For  this 
work  use  good  quality  of  stock,  one  which  is  adapted  to  the  fine, 
delicate  lines  of  the  process  plate.  Take  exceptional  care  in  getting 
a  good  makeready  which  shall  reproduce  every  light  and  shade, 
just  as  they  appeared  in  the  original.  To  do  this  a  hard  packing  will 
be  necessary.  Use  the  very  best  blue  black  ink  on  a  press  giving 
good  distribution,  that  as  little  ink  as  possible  shall  be  carried. 

Half-tone  Cuts. — Printing  has  been  changed  and  it  has  taken 
tremendous  strides  in  advance  within  ten  or  fifteen  years  by  the  intro¬ 
duction  of  the  half-tone.  The  half-tone  has  come  to  stay.  It  is  a 
iactor  of  no  small  importance  in  both  the  job  and  newspaper  depart- 

«  77 


JOB  WOEK 

Litkograpked 

Work 

Half-tone  Outs 


78 


ment.  In  fact,  the  office  which  has  in  stock  a  large  number  of  half-  JOB  WORK 

tones  of  prominent  people,  buildings,  and  scenes  of  local  interest  is  tt  in  ^  rt  ^ 
^  ^  ^  .  .  Half-tone  Cuts 

sure  to  secure  much  work  which  otherwise  would  most  likely  go 

elsewhere.  The  merchant  wants  a  half-tone  with  which  to  attract 
the  attention  of  his  patrons  to  some  piece  of  advertising,  but  he  can¬ 
not  afford  the  expense  of  one  for  so  small  a  job.  He  knows  that 
you  have  a  good  assortment  which  is  always  at  the  disposal  of  your 
patrons,  hence  he  comes  of  necessity  to  you  and  you  are  able  to  please 
him  and,  as  a  result,  he  comes  again  and  again. 

It  may  be  argued  that  a  good  assortment  of  half-tones  costs  mon¬ 
ey.  Yes,  but  how  is  this  expense  to  be  met.^  Let  us  see  what  a  little 
planning  will  do.  Assuming  that  you  run  a  newspaper  and  job  office 
combined,  you  must  in  some  way  make  your  paper  of  real,  material 


value  to  those  people  from  whom  you  have  a  right  to  expect  support. 
It  must  be  intensely  alive  and  interesting  in  a  local  way.  Nothing 
will  accomplish  this  so  cheaply  or  so  effectually  as  a  strong,  bold 
campaign  to  boom  the  business  of  the  town.  One  very  successful 
method  of  accomplishing  this  is  to  run  for  a  few  months  a  series  of 
interesting  sketches  of  the  local  institutions  of  learning,  of  the  churches, 
of  the  different  lines  of  industry,  manufacturing,  etc.  This  series 
of  articles  should  be  liberally  illustrated  with  half-tones,  the  larger 
the  number  of  cuts  used  the  greater  will  be  the  satisfaction  of  the 
public,  and  the  greater  your  reward.  The  prosperous  business  houses 
will  pay  well  for  the  space  devoted  to  their  business,  which  will 
cover  all  the  expense  for  half-tones.  Thus,  in  a  year  this  course  will 
have  gained  for  you  the  reputation  of  being  heart  and  soul  in  earnest 
to  build  up  your  town  ;  it  will  have  added  many  subscribers  to  your 
list ;  it  will  have  bought  for  }  ou  a  handsome  collection  of  cuts  which 


79 


JOB  WOEK 

Half-tone  Outs 
Camera 


will  earn  many  dollars  on  job  work  in  the  future  ;  and,  if  the  sketches 
and  business  notices  have  been  properly  handled  for  revenue,  it  will 
have  netted  a  handsome  surplus. 

This  course  will  boom  the  paper  and  the  job  department  far 
more  than  one  would  think  possible.  Try  it!  but  first  carefully  plan 


out  every  detail  for  the  year’s  campaign.  Start  your  series  of  articles 
with  business  in  which  representative  men  are  interested  for  they  will 
not  hesitate  to  put  money  into  booming  the  town  and  their  own  busi¬ 
ness.  The  first  thing  needed  is  a  good  camera.  Get  only  the  best 
and  most  reliable  as  it  must  be  ready  for  instant  use. 


80 


See  to  it  that  several  of  your  staff  are  familiar  with  the  use  of  the 
camera,  that  no  sudden  opportunity  may  be  lost.  As  quickly  as  pos¬ 
sible  secure  and  file  away  in  alphabetical  order  a  good  photograph  of 
public  buildings,  principal  stores,  factories,  and  fine  residences,  as 
well  as  the  influential  people  In  your  locality.  Then  in  case  of  a  sud¬ 
den  death,  fire,  accident,  or  crime,  you  are  forearmed  with  a  photo¬ 
graph,  which  just  then,  is  of  great  interest  to  the  public  yet  cannot 
be  secured,  for  the  building  is  burned  or  the  man  is  dead. 

Send  this  photograph  at  once  to  your  engraver  and  he  will  do 
the  rest.  In  a  few  hours  you  have  a  fine  half-tone  ready  to  illustrate 
the  startling  event  which  is  on  every  tongue. 


Select  some  thoroughly  reliable  engraving  company  from  whom 
you  are  sure  of  both  prompt  service  and  first-class  work  and  arrange 
all  details  of  price,  method  of  shipping,  date  of  publication,  etc.,  so 
to  avoid  all  possible  delay  or  hindrance. 

•  Such  enterprise  as  coming  out  just  after  the  burning  of  a  promi¬ 
nent  building  with  a  picture  of  the  building  before  and  another 
after  or  during  the  fire,  also  with  a  picture  of  its  owner,  is  a  great 
credit  to  a  paper. 

Many  opportunities  wdll  arise  for  using  these  half-tones  on  job 
work.  First  pages  of  all  kinds  require  something  attractive,  full  of 
life  and  animation.  The  half-tone  gives  it.  It  will  add  character 
to  the  job  work.  Remember  that  every  really  good,  meritorious  job 
brings  two  more.  The  cut  can  be  worked  in  a  great  variety  of 
ways  and  with  a  great  many  colors  of  ink. 

A  job  surrounded  with  a  rule  or  border  at  one  time,  or  if  the 
subject  matter  is  printed  in  one  color  and  cut  in  another,  will  appear 
enough  more  finished  and  attractive  to  repay  the  cost.  Or  the  cut 


JOB  WORK 

Half-tone 

Engraver 


81 


JOB  WOEK 

Half-tones 
Hlect  retyping 


can  be  handled  in  some  one  of  the  ways  with  two  colors  of  ink  as 
shown  in  the  illustration  pages. 

All  this  may  seem  difficult  and  to  you  almost  impossible,  yet  it 
is  perfectly  feasible,  in  fact,  is  being  done  by  many  good  printers. 
You  have  only  to  take  one  step  at  a  time  and  after  a  few  trials  you 
will  be  surprised  to  see  how  simple,  easy,  and  profitable  it  is. 


Electrotyping. — When  within  a  reasonable  distance  from  an 
electrotyper  it  will  be  found  a  great  means  of  economy,  as  well  as  a 
great  help  in  many  ways,  to  have  electrotypes  made  of  all  forms  that 
must  go  to  press  for  long  runs.  It  keeps  the  type  new,  saving  the 
wear  of  its  fine  lines  on  the  press.  It  leaves  the  type  free  for  use 
while  the  job  is  still  running,  avoiding  the  necessity  of  buying  in  as 
large  quantities  as  one  must  if  the  type  is  to  go  to  press. 

It  makes  possible,  by  securing  two,  four,  eight  or  moie  plates, 
the  running  of  large  forms,  thus  reducing  the  cost  of  presswork  quite 
materially.  In  fact,  a  good  margin  of  profit  can  thus  be  secured  and  you 
can  still  bid  as  low  or  lower  than  your  neighbor.  Electrotypes  are 
also  of  great  importance  when  two  or  more  colors  are  to  be  printed, 
as  they  reduce  the  complications  of  register  to  a  large  extent.  Hence 
whenever  practicable,  use  electrotypes  for  color  work. 

A  saving  in  composition  can  be  made  in  this  way  on  work  which 
comes  regularly,  by  having  electrotypes  made,  thus  avoiding  all  future 


82 


composition,  proofreading,  possibilities  of  errors,  pieing  of  forms, 
working  up  of  spaces,  etc. 

Always  have  electrotypes  which  are  to  be  printed  with  red  ink 
nickel-plated.  It  will  treble  the  wear.  This  is  fully  treated  under 
red  ink. 

Twenty  Ter  Cent  Profit. — Is  it  worth  while  to  add  twenty 
per  cent  to  the  profits  of  an  office  and  with  no  more  outlay  and,  in 
fact,  less  labor,? 

It  is  claimed  that  it  makes  at  least  twenty  per  cent  difference 


Subject*  Simultaneous  Contrasts. 


TITLE  OF  BOOK. 

yoL. 

PAGE. 

The  Practical  Colorist 

19 

(  (  (  ( 

36 

(  (  (  ( 

40 

(  (  (  ( 

56 

Chevreul’s  Harmony  of  Color 

13 

123 

(  (  (  (  (  (  (  ( 

The  Color  Printer 

1 

31 

Colour,  by  Church 

99 

REFERENCE  CARD 


whether  the  help  in  an  office  are  aware  that  work  is  a  little  slack  and 
that  they  must  all  kill  time  or  someone  will  be  discharged,  or  whether 
every  hand  knows  that  business  is  pushing  and  in  order  to  get  the 
work  out  in  time,  and  in  order  to  keep  the  work  unclogged,  each 
man  must  individually  do  his  very  best,  and  all  together  work  like  one 
machine.  This  is  true  in  each  department.  In  the  composing  room 
in  many  offices  distribution  of  dead  type  is  left  for  a  dull  time,  then  all 
hands  take  hold,  not  to  really  distribute,  but  to  go  to  the  case  with  a  few 
lines  of  type  and  visit  and  kill  time  until  more  work  comes  in.  When 
the  work  does  come  it  finds  the  dead  type  still  waiting,  necessitating 
the  extra  expense  of  pulling  for  sorts,  setting  from  empty  cases,  and 


JOB  WOEK 

Twenty  per 
cent  Profit 


83 


JOB  WORK 

Good  Proofs 


causing  great  delay,  inconvenience,  and  needless  expense.  Is  not  this 
all  too  true  ?  The  same  is  true  in  pressroom  or  bindery.  There  is 
but  one  way  to  do  work  economically  and  that  is  by  having  barely 
enough  help  to  do  each  job,  whether  it  be  setting,  distributing,  or 
printing,  when  it  should  be,  not  some  other  more  convenient  time. 

It  is  a  good  plan  to  have  one  hand  do  all  the  distributing  as  far 
as  possible  and  select  not  the  ‘‘devil”  but  the  most  careful  and  accu¬ 
rate  workman  available.  Careful,  conscientious  distribution  means 
many  dollars  to  an  office  every  year. 

It  should  be  easier  to  save  than  to  ea  n.  Economy  of  time, 
strength,  and  labor  is  the  foundation  of  a  successful  business. 

The  honest  enforcement  of  the  principle  of  economy  in  no  way 
implies  grinding  an  unreasonable  amount  of  work  from  the  help,  it  is 
simply  insisting  on  each  hand  doing  the  work  he  is  paid  to  do. 


PRIVATE  MAILING  CARD. 

United  States  of  America. 

Authorized  by  act  of  Congress  May  J9,  J898. 

THIS  SIDE  IS  FOR  THE  ADDRESS  ONLY. 


Put 

One-Cent 

Stamp 

Here 


The  International  Monthly, 

Burlington, 

Vermont. 

LEGAL  SIZE  3^x5^  INCHES 

Send  Good  Proofs. — It  is  only  a  small  per  cent  of  printers, 
even,  who  can  see  from  a  galley  proof  how  a  job  will  look  when  fin¬ 
ished.  Yet  many  a  printer  pounds  the  type  almost  through  a  proof 
and  thoughtlessly  sends  it  to  a  customer  for  his  approval  and  then  won¬ 
ders  and  storms  because  he  does  not  consider  it  a  work  of  art ;  in  fact, 
is  by  no  means  pleased  with  it  and  demands  expensive  changes.  Had 
fine  press  proofs  been  submitted  the  chances  are  it  would  have  suited 
the  customer  perfectly.  A  good  hand-press  is  invaluable  in  every 
office,  for  on  this  proofs  can  be  secured  as  good  and  even  better  than 
from  the  average  job  press. 


84 


It  may  seem  expensive  to  stop  for  press  proofs.  Yet  long  years 
of  experience  have  shown  conclusively  that  it  is  the  only  way  of  suit¬ 
ing  fastidious  customers.  In  fact,  it  avoids  expense  and  change  so 
often  that  it  much  more  than  balances  the  expense,  besides,  it  gives  an 
office  the  reputatioii  of  being  able  to  do  the  right^thing  the  first  time. 
The  job  which  does  not  please  the  first  time  will  seldom  ever  be  quite 
satisfactory  as  first  impressions  are  very  lasting. 

Hence  it  is  wise  to  count  no  effort  too  great,  that  makes  the  job  in 
hand  so  complete  and  attractive  that  when  the  customer  first  looks  at 
the  proof  he  is  nut  only  pleased  but  grateful  for  what  seems  to  him  to 
be  your  especial  effort  for  him. 


JOB  WOEK 

Size  of  Pages 


SPECIALTIES 


NEAT 

TASTY 

ATTRACTIVE 

HARMONIOUS 

FORCEFUL 

AS  YOU 
WANT  IT 


¥¥¥¥¥¥  \\ 


A.  COMPOSER 


P.  FEEDER 


The  Robertson  Co* 

PRINTING  and 
BINDING  ^ 

71  West  St*,  MANILA* 


BUSINESS  CARD 


Size  of  Pages. — There  is  a  craving  the  world  over  for  novelty 
and  change.  The  time  was  in  the  earliest  period  of  book-making  that 
the  printer  must  use  just  such  a  size  and  shape  of  page;  he  had  no 
choice.  Todav,  with  unlimited  variety  in  stock  and  material  of  all 
sizes,  it  rests  wholly  with  the  creative  genius  of  the  printer  what  vari¬ 
ations  and  novelt  es  shall  enrich  our  bookshelves. 

In  choosing  novel  shapes  for  books  and  magazines,  which  may 
eventually  be  bound  in  volumes,  care  must  be  taken  to  secure  a  form 
which  will  be  harnionious  and  convenient  on  the  shelf  among  other 
books.  The  excessivelv  long,  narrow  form  which  is  neat  and  attrac¬ 
tive  in  small  pamphlets  is  by  no  means  suited  for  magazines  which 
many  subscribers  will  surely  wish  to  bind. 


85 


JOB  WORK 

Legibility 


By  means  of  novelties  in  shape  and  fold  a  fertile  mind  can  secure 
great  variety  in  page  and  form  of  hooks,  circulars,  and  pamphlets, 
which  will  greatly  add  to  the  character  and  reputation  of  the  office. 
Then,  by  carefully  selecting  chaste  rule  effects  to  support  and  dignify 
the  type  page  a  great  step  forward  can  be  taken.  These  advance 
steps  come  only  by  careful,  quiet  thought  and  study,  they  are  no  acci¬ 
dent ;  yet,  no  research  or  application  will  give  better  results  than 
those  which  create  new  and  attractive  and  valuable  novelties.  The 
grotesque,  meaningless,  unreadable  muddle  does  not  come  in  this 
class.  It  is  no  improvement. 

If  you  doubt  this,  just  try  an  experiment.  First  set  a  job,  using 
ornaments  quite  freely,  and,  after  pulling  a  few  first-class  proofs,  lay 
two  proofs  side  by  side  and  cover  up  most  of  the  ornaments  with  bits 
of  white  paper  and  you  will  be  surprised  to  learn  that  really,  in  many 
cases,  the  work  is  stronger  without  the  ornaments.  It  is  well  to  use 
this  test  on  every  ornament  of  which  you  feel  any  doubt  as  to  the 
advisability  of  using. 


CHORUS  MUSICAL 

VERMONT  MUSICAL  FESTIVAL. 


Burlington  High  School 


TUESDAY  EVE.,  8  P.  M.,  JUNE  5. 


ADMISSION  TICKET  ^ 


^,P-  ps 

Legibility  is  a  prime  requisite  of  good  printing.  Whatever 
advantages  it  may  have  besides  this  are  rendered  of  no  avail,  by  odd, 
unreadable  types  and  mottled  paper.  Paper  to  look  well  when  printed 
upon  with  black  ink  should  be  luminous  5  that  is,  the  paper  should  be 
in  white,  red,  or  yellow,  or  their  mixtures,  or  such  compounds  of  the 
warm  colors  as  shall  leave  the  predominance  with  the  brighter  ones. 
A  job  or  pamphlet  is  not  intended  primarily  for  a  work  of  art,  it  is 
designed  to  give  information  ;  art  is  secondary.  To  do  this,  it  should 
be  printed  in  such  a  way  as  to  be  read  hastily.  If  a  certain  job  would 


86 


require  ten  minutes’  reading  on  pink  paper,  and  on  dark  green  sixteen 
or  eighteen,  the  object  of  the  writer  is  defeated  if  the  latter  be  used. 
Every  device  is  tried,  at  the  present  day,  to  induce  buyers  to  read 
what  is  put  before  them.  Three  quarters  of  everything  sent  out  is 
unread.  If,  by  attention  to  beauty  of  printing  and  legibility,  twenty 
per  cent  more  is  read,  the  same  effect  is  produced  as  by  an  addition  of 
one  half  the  edition.  Mottled,  fancy,  and  dark  papers  are  particularly 
objectionable  for  pamphlet  work.  The  highest  legibility  is  on  white. 
The  greatest  contrast  is  white  and  black.  The  other  colors  are  to  be 
used  for  giving  life  and  attractiveness.  It  is  legibility  first,  last,  and 
always. 


Burlington,  Vt., 

Received  of . 

$ . 

iOO 

For .  . 

Signed  .• . 


RECEIPT  BLANK 


Paper. — Reference  has  just  been  made  to  the  best  paper  to  use, 
and  the  subject  being  an  important  one  will  bear  careful  thought. 

Black  ink  is  at  its  best  on  white  paper.  The  dull,  somewhat 
rough  surface,  as  compared  with  that  which  is  highly  polished  with 
a  glossy  surface,  is  by  far  preferable,  as  far  as  the  reader  is  con¬ 
cerned  A  coated  or  glazed  surface  is  trying  to  the  eye  if  one  is  to 
read  for  any  length  of  time.  Yet,  circumstances  often  force  the  printer 
to  use  coated  papers ;  in  fact,  where  half-tone  and  three-color  process 
work  is  to  be  done  the  printer  has  no  choice.  In  a  great  majority  of 
cases  a  “natural”  tint  is  far  preferable  to  a  pure  white.  It  will  not 
soil  so  easily  in  handling  ;  hence  it  holds  its  fresh,  new  appearance 
much  longer. 

Judgment  is  necessary  even  in  selecting  the  paper  for  the  great 
variety  of  job  work  which  comes  daily  to  an  office.  With  the  present 
wide  diversity  of  kinds,  grades,  and  colors  of  paper  there  is  ample 
latitude  in  choosing  that  which  is  most  appropriate.  By  watching 


JOB  WOEK 

Paper 


87 


JOB  WOKE  the  market  a  job  printer  can  secure  small  lots  of  deckle-edge,  laid, 
and  fancy  colored  cover  papers  which,  while  costing  no  more 
than  ordinary  stock,  will  enable  him  to  turn  out  exceptionally  neat 
and  showy  work  that  would  otherwise  appear  so  cheap  and  plain 
as  never  to  have  been  read. 

Antique  laid  and  hand-made  papers  are  decidedly  the  best  for 
small  book  and  pamphlet  work  where  something  just  correct  is 
desired.  From  scraps  of  these  same  papers  can  be  secured  the 
stock  for  much  of  the  small  job  work,  such  as  programmes,  invita¬ 
tions,  leaflets,  folders,  mail  slips,  etc.  ;  this  stock  will  add  character 
to  the  work. 


$ .  B2Lrlington,  Vt., .  igo . 

NATIONAL  BANK 

Pay  to  or  order 

Dollars. 

lOO 

No . 


BANK  LMECK 


The  light  tones  of  warm  colors,  then,  are  most  desirable  in  fancy 
papers,  and  a  harmonious  combination  of  colored  paper  and  one  or 
two  diflerent  darker  tones  of  the  same  color  of  ink  will  richly  repay 
the  added  expense.  Use  the  brilliant  inks  on  this  work,  for  while  they 
will  add  but  a  penny  or  two  to  the  cost,  they  will  double  the  value  of 
the  ink  effect.  In  using  colored  paper,  unless  one  has  become  expert 
in  color  printing,  it  is  a  safe  rule  to  use  only  one  or  two  colors,  being 
careful  to  determine  by  experiment  whether  the  ink  and  paper  are 
wholly  harmonious.  Many  of  the  illustrations  in  this  book  were 
printed  on  colored  stock  that  a  good  opportunity  might  be  afforded  for 
comparing  and  choosing  the  most  appropriate  combinations  of  paper 
and  ink. 


88 


JOB  WOEK 


TEN 

PER  CENT 

YOU  CAN  SAVE  IT. 

WHY  NOT  DO  SO 

Folders  and 
Pamphlets 


MAILING  SLIP 


Folders  and  Pamphlets. — In  folders,  two  or  more  page  cir¬ 
culars,  booklets,  etc.,  strive  to  put  the  striking,  attractive  effects  of 
ornament  and  colors  upon  the  first  page,  keeping  the  page  simple  but 
just  as  striking  and  attractive  as  possible,  so  as  to  catch  the  eve,  and 
harmonious  in  type  and  color  effect  in  order  to  hold  the  eye  once  it  is 
attracted.  The  rest  of  the  circular  will  then  be  read  even  if  only  one 
>color  is  used,  providing  it  is  well  printed  with  plain,  legible  types 
which  do  not  require  special  effort  to  read. 

Books  are  bought  to  get  the  thoughts  of  the  author  ;  advertise- 


89 


JOB  WOEK 

Calendars 


meats  are  printed  to  convey  thought  and  conviction,  and  this  can  be 
accomplished  only  by  employing  the  best^  plainest,  and  simplest  of 
type  faces;  by  making  of  secondary  importance  ornamentation  and 
that  which  does  not  add  to  the  strength  of  the  text.  The  time  is  fast 
passing  when  anything  eccentric,  striking,  or  difficult  is  good  print¬ 
ing ;  and  simple,  harmonious  effects,  which  are  so  free  and  acci¬ 
dental  as  to  appear  almost  as  havdng  just  chanced  to  drop  into  their 
present  positions  is  rapidly  superseding  them.  This  unconscious 
grace  is  the  highest  form  of  harmony  ;  it  is  the  efiect,  and  the  cause  is 
careful  study  and  training. 


Compliments  of  .  .  . 

C.  H.  VANDERWATER 

DRUGGIST 

We  carry  a  full  line  of  medicines,  toilet  ar= 
tides,  stationery,  etc.  We  sell  the  great 
nerve  medicine,  Paine’s  Celery  Compound. 

i6  CHURCH  ST.,  ATHOL,  flO. 

CALENDAR  BLOTTER 


FEBRUARY  1899. 


s 

M 

T 

w 

T 

F 

s 

¥ 

¥ 

¥ 

1 

0 

4 

5 

6 

7 

8 

9 

10 

11 

12 

13 

14 

15 

16 

17 

IS 

19 

20 

21 

oo 

fW  fW 

23 

24 

26 

26 

27 

28 

¥ 

¥ 

¥ 

¥ 

Calendars. — Every  one  likes  a  pretty  calendar.  There  is  a 
much  wider  field  for  the  job  printer  in  this  line  than  is  generally  sup¬ 
posed.  The  calendar  field  will  bear  careful  cultivating.  If  they  are 
properly  illuminated  the  most  prosperous  merchants  in  your  town  and 
those  in  the  neighboring  towns  would  use  several  hundred  every  win¬ 
ter  if  their  advertisements  were  neatly  printed  on  them. 

A  calendar  is  of  value  to  the  advertiser  only  when  it  has  some 
striking,  unusual  feature.  Hence  search  out  with  camera  or  brain 
something  which  will  give  definite  value  and  force  to  it.  Pictures  of 
prominent  buildings  and  especially  beautiful  and  rare  scenes  taken 
right  at  home  always  have  a  strong  local  interest,  and  great  variety 
can  be  added  to  a  series,  different  pictures  being  used  for  each  customer. 

Two  or  more  colors  should  always  be  used  on  the  calendar,  and 
this  is  a  case  where  strong,  bold  effects  often  prove  of  value.  Two- 
color  plates  can  be  secured  from  the  engraver  which  will  give  a  perfect, 
finished  tone  to  the  work. 


90 


SUTLIFF  &  LIVINQ5T0N, 

DRUGQ1ST5, 

82  River  Street,  CANAJOHARIE,  N.  Y. 


Drugs, 

Perfumes, 

Stationery, 

Paints,  etc.  i 

I 


Prescrip= 
tions  filled 
accurately, 
promptly. 


January. 


1 

2 

3 

41  5 

6 

7 

8 

9 

10 

1112 

3 

4 

5|  6|  7 

13 

14 

15 

16 

17 

18|l9 

10 

11 

12:13114 

20 

21 

22 

23 

24 

2526 

17 

18 

192021 

27,28 

29 

30 

31 

. 

24 

25 

262728 

April. 


1 

2 

3 

4 

51  6 

7 

8 

9 

10 

11 

1213 

14 

15 

16 

17 

18 

19,20 

21 

22 

23 

24 

25 

26,27 

28|29 

30 

::h: 

February. 


ij  2 

8|  9 
1516 
22)23 


May. 

.3^ir2"pii 

7|  8  vjUdl 
1415'l6!l718 
21:22!23|2125 
28'2y  30  31 ... 


March. 


1|  2 

4!  5i  6:  7-  8:  9 
1112)13:141516 
1819  202122,23 
25  26  27  28|29'30 


June. 


1 

1 

2  3 

4 

5 

6 

7 

8 

9'l0 

11 

12 

13 

14 

15 

1617 

18 

19 

20 

21 

22 

2324 
30  . 

25 

26 

27 

28 

29 

91 


JOB  WOEK 

Color  Work 
Lock-up 


Three-color  work,  showing  in  original  life-like  colors  beautifuT 
floral  or  fruit  pieces,  pictures  of  children,  or  animals,  etc.,  give  mar¬ 
velous  value  to  the  calendar.  There  is  possibly  no  other  field  which 
offers  so  wide  and  remunerative  possibilities  for  three-color  printing, 
such  works  of  art  often  retailing  for  from  twenty-five  to  fifty  cents-- 


Prescriptions  carefully  compounded* 

I 


JOHN  KENT  &  CO., 

^  DRUGS  fji 


Medicines,  Toilet  Articles,  Stationery* - 
A  Complete  Stock  of  Paints,  Oils,  etc*- 

MONTREAL,  P*  Q* 


BLOTTER 


Printing  in  Colors. — Nowhere,  in  printing,  does  the  consci- 
entious  attention  to  all  the  little  details  and  technique  become  of  such^ 
vital  importance  as  in  color  printing. 

The  responsibility  begins  with  the  compositor,  who  must  justify 
each  line  just  alike,  must  know  that  each  letter  is  free  from  black  lead 
or  dirt  that  might  crowd  it  out  of  its  place,  and  must  accurately  space 
out  the  page  with  leads  and  slugs,  using  no  wood  or  cardboard. 

Lockup  for  Color  Form. — Having  decided  what  part  of  the 
form  is  to  be  run  in  each  color,  take  as  many  chases  as  there  are  to  be 
colors,  and  make  up  metal  furniture  ;  wood  will  not  do.  Set  the  form 
into  one  of  these  chases,  take  from  this  form,  one  line  at  a  time,  the- 
color  lines,  replacing  each  with  a  line  of  quads  of  the  same  size.  Set 
the  color  lines  removed  into  their  own  form,  filling  in  above  with  just 
the  same  number  of  points  of  metal  furniture  as  there  were  points  o£' 


92 


leads  and  type  above  the  lines  in  the  original  form.  Prove  this  work 
step  by  step,  to  avoid  any  possible  error.  By  following  this  method 
with  each  line  removed,  absolutely  accurate  register  can  be  secured. 


JOB  WOKK 

Color  Printing 


CHARLES  WILLIAMS, 

76  WILLIAMS  ST., 
WILLIAMS,  MASS. 


ENVELOPE  CARD 


Printing. — Always  put  the  chase  to  the  left  side  of  the  press  and 
wedge  so  it  cannot  move,  then  use  as  little  packing  as  possible  so 
to  keep  close  to  the  iron.  Take  great  pains  to  fasten  the  tympan 
tightly  and  smoothly  to  avoid  any  spring,  if  necessary  gluing  its  sides 
down  to  the  iron.  Never  use  patent  gauge  pins  on  color  work,  but 
glue  quads  to  the  packing  and  a  piece  of  reglet  below  them  to  avoid 
their  moving. 


THE  OWL  PRESS 
^  ^  PRINTERS  ^  ^ 
BURLINGTON,  VT. 


ENVELOPE  CARD 

Two  or  more  colors  can  be  printed  at  once  on  a  cylinder  or  job 
press  with  long  fountain  and  good  distribution,  though  this  is  advis¬ 
able  only  in  special  cases.  For  instance,  take  a  form  of  four  long, 
narrow  pages ;  by  dividing  the  fountain  and  putting  three  different 
colors  of  ink  in  it  the  lower  part  of  the  left-hand  pages  will  be  printed 
in  one  color  and  the  lower  part  of  those  on  the  right  will  have  a  dif¬ 
ferent  color,  while  the  tops  of  each  page  will  receive  a  third  color. 


93 


JOB  WOEK 

Color  Work 


Thus  at  one  impression  it  is  possible  to  add  a  touch  of  ornament  in 
two  different  colors  to  each  page  which  had  previously  been  printed 
in  black. 

Another  novelty  in  printing  which  is  available  only  on  cheap 
dodgers,  etc.,  is  to  first  set  up  the  form,  then  make  up  for  two  col¬ 
ors,  dividing  the  type  about  equally  between  the  two,  and  lock 
up  in  the  chase  side  by  side  with  the  heads  in  opposite  directions. 
Feed  the  paper  once  through,  then  clean  up  the  press  and,  putting  on 
a  different  color  of  ink,  turn  the  paper  and  feed  through  a  second  time. 
In  this  way  five  thousand  cheap  dodgers  can  be  run  in  two  colors 
with  only  five  thousand  impressions. 


H.  J.  BROWN,  Pres.  W.  B.  HIGGINS,  Vice-Pres.  ABE.  LINCOLN,  Treas. 


THE  BOSTON  STORE. 

THE  LARGEST  DRY  GOODS 
STORE  IN  NEW  ENGLAND. 


Albany t  N*  H*, 


LETTER  HEAD 


I 

Color  Work. — A  great  deal  of  the  work  going  out  of  every 
office  will  bear  just  a  touch,  at  least,  of  color.  All  business  men  are 
somewhat  insistent  on  having  their  stationery  neat  and  of  first  quality, 
however  cheaply  they  may  accept  the  rest  of  their  printing.  A  letter 
head,  bill  head,  or  statement,  will  each  be  much  more  attractive  and 
pleasing  to  customers  if  a  trifle  of  a  bright  color  is  added  to  a  neat 
panel  or  rule  or  ornament.  Here,  also,  simplicity  must  be  urged. 
Keep  the  types  down  small,  group  for  effects,  using  series  of  types, 
leaving  much  free  space.  Here,  also,  the  fancy  colored  and  bronze 
inks  play  a  prominent  part  in  assisting  the  printer  to  give  pleasing 
results  with  no  extra  expense. 


94 


There  are  some  houses  which  want  nothing  but  the  best ;  these  are  JOB  WORK 
the  people  who  will  not  only  appreciate  any  attempt  on  the  part  of  the  Colors 
printer  to  illuminate  their  work  with  colors,  but  they  will  be  ready  to 
pay  liberally  for  the  extra  cost.  Those  desiring  fancy  cards,  ball 
cards,  and  programmes,  will  usually  pay  for  fine  color  and  embossed 
effects,  provided  the  printer  has  samples  of  his  work  to  show  that 
please.  It  is  by  far  better  and  cheaper  than  using  the  costly  cards 
which  are  bought  already  embossed  and  colored,  for  it  keeps  the  work 
at  home  and  then,  too,  the  work  and  designs  can  be  more  appropriate 
to  the  occasion  than  when  choosing  from  a  small  stock  of  samples. 

Catalogues,  business  announcements,  and  circulars,  can  be 
doubled  in  value  by  enlivening  the  first  page  and  adding  an  occa¬ 
sional  initial  letter  and  ornament  in  some  warm,  bright  color  which 
offers  contrast  to  the  solid  type  page.  More  people  will  notice  and 
read  the  advertising  and  that  is  the  vital  point. 


THE  BURLINGTON  PRESS, 

PRINTERS  AND  PUBLISHERS. 

Color  Work  a  Specialty. 


Burlington,  Vt., 


.1900 


LETTER  HEAD 


The  colored  initial  or  a  tint  beneath  an  initial  adds  greatly  to  a 
page  of  solid  reading.  It  changes  the  whole  character  of  the  work. 
Today  fancy  and,  in  some  cases,  fabulous  prices  are  paid  for  books 
simply  because  the  initial  letters  are  hand-painted,  in  imitation  of  the 
work  of  illuminating  initials  as  executed  in  the  early  days  of  the  art 
preservative.  It  is  possible,  by  two  or  three  printings,  to  secure 
strong  rivals  of  these  hand-painted  initials.  It  is  not  only  possible, 
but  it  is  extremely  profitable  on  work  which  is  being  done  for  people 
who  count  nothing  too  costly  that  is  beautiful. 


95 


JOB  WOEK 

In  Colors 


Use  a  little  color  here  and  there,  and  gradually  one  becomes- 
accustomed  to  using  and  suggesting  its  use  to  his  best  customers,  until 
shortly  it  will  come  to  fill  its  real  position  in  the  printing  office. 

In  the  illustrative  pages  which  follow,  a  considerable  variety  of 
style  of  initial,  panel,  tint,  head  and  tail  pieces,  ornaments,  and  rules, 
are  printed  in  a  great  variety  of  colors,  hues,  tones,  and  tints. 
Oftentimes  the  same  combination  of  ornaments  is  used  repeatedly  but 
always  with  diderent  inks,  that  as  large  a  variety  as  possible  can  be 
had  from  which  to  select  the  best  and  most  harmonious  results.  In 
these  illustrations,  in  order  to  show  all  the  different  combinations, 
many  colors  have  necessarily  been  incorrectly  used  side  by  side  that 
all  may  see  the  result  of  poor  as  well  as  good  combinations. 


MEMORANDUM* 


From 

GEO.  LIVINGSTON, 
t6  Union  St. 


Burlington,  Vt. 
To 


MEMORANDUM  HEAD 

The  absence  of  page  after  page  with  only  pretty  ornaments- 
and  illustrations  is  no  accident,  it  having  been  deemed  more  service¬ 
able  and  to  make  the  work  more  valuable  if  the  illustrations  be  com¬ 
bined  as  naturally  as  circumstances  would  permit  in  regular  type 
pages  for  ornamentation.  Hence  in  the  study  of  this  work,  there  can 
be  found  illustrated  in  practical  use  the  laws  and  principles  laid  down 
in  its  definitions  and  explanations  of  color  and  harmony. 

In  order  to  secure  the  necessary  type  effect,  there  have  been  woven 
into  these  illustrated  pages  many  suggestions  and  helpful  facts, 
that,  while  in  many  instances,  they  may  be  repetitions  of  what  has 
been  already  said  and  is  well  known  to  many,  will,  after  all,  be 
emphasized  and  be  borne  in  on  the  minds  of  some  who  would  not 
otherwise  have  grasped  and  profited  by  them. 


96 


A  careful  study  of  these  pages  will  enable  one  to  choose  intelli¬ 
gently  what  colors  and  ornaments  and  types  are  best  fitted  to  be  used 
together  in  practical,  every-day,  simple  printing. 


JOB  WOEK 

Samples 


Burlington^  Vt, 


mo 


m 


To  THE  O  WL  PRESS,  Dr. 


When 

You 

Want  It 


Artistic  Printing  ,  ,  , 

,,,  In  All  Grades 


STATEMENT. 


Samples  of  Perfect  Printing. — There  are  always  sample 
books  galore  of  the  most  perfect,  beautiful,  and  effective  printing, 
which  printers  are  tempted  to  purchase.  These  books  contain  much 
of  value  ;  every  piece  of  work  in  them  is  wonderfully  executed.  Yet,, 
the  average  printer  who  purchases  such  a  sample  book,  studies  it,  is 
thoroughly  possessed  by  a  desire  to  do  better  things,  longs — yes,  even 
determines  to  do  likewise,  and  then  awakens  to  the  fact  that,  with  his 
limited  means,  utensils,  and  skill,  there  is  not  even  one  sample  which 
he  can  possibly  imitate  or  be  benefited  by.  The  question  arises, 
“  Why  is  this  }  ” 

The  work  is  executed  by  the  best  and  most  skilled  printers  in  the 
land,  and  is  done  with  all  the  latest  material,  most  improved  machines 
and  apparatus  for  this  class  of  work.  The  average  printer  has  none 
of  these  machines,  material,  or  experienced  help.  Hence  the  sample&> 
help  only  by  educating  the  taste  for  the  beautiful. 


97 


JOB  WOEK 

Samples 


The  above  variety  of  samples  is  becoming  obsolete,  and  more 
modern  and  helpful  samples  are  being  shown,  such  as  “  The  Printer’s 
Art,”  by  Alexander  A.  Stewart,  and  those  now  on  sale  by  The  Inland 
Printer.  It  is  the  samples  which  inspire  one  with  new  and  helpful 
suggestions,  which  are  valuable,  not  necessarily  difficult,  possibly  very 
simple,  yet  new  and  helpful. 


Burlington,  Vt. 


1900 


M. 


To  THE  OWL  PRESS,  Dr. 


When  You 
Want  It. 


ARTISTIC 

PRINTING 


IN  ALL 

GRADES 


In  the  samples  and  illustrations  which  follow  there  has  been  used 
nothing  but  what  shall  be  found  in  the  average  office,  much  of  it  old, 
well-worn  material,  printed  on  ordinary  presses  which  have  run  from 
ten  to  fifteen  hours  a  day  for  years,  and  with  the  aid  of  help,  averag¬ 
ing  not  over  two  dollars  a  day.  This  statement  is  made  to  show  that 
any  of  this  work  can  be  matched — yes,  excelled  in  hundreds  of 
country  offices. 

Many  of  the  samples  will  lack  the  perfect  harmony  and  beauty 
you  will  expect ;  in  fact,  they  violate  the  very  rules  laid  down  in  this 
work,  have  been  forced  to  do  so,  in  order  to  show  faithfully  many 
points  that  could  not  possibly  have  been  done  in  any  other  way. 


98 


PROGRAM 


1 .  Mattinata,  Tosti 

Miss  Lulah  Austin 

2.  a.  Prelude,  Rachmaninoff 

b.  Meditation,  Chaminade 


Mr.  G.  H.  Livermore 

3.  Lend  Me  Your  Aid, 

Mr.  W.  J.  Cota 

Gounod 

4.  a.  May  Morning, 

Denza 

b.  Rosary, 

Nevin 

Miss  Minnie  Trombley 

5.  The  Two  Grenadiers, 

Schumann 

Mr.  C.  E.  Johnson 

6.  Piano  Solo,  Hungarian  Rhapsody  No.  2,  Lis%t 

Mr.  a.  B.  Rupert 

(Pianist  to  H.  R.  H.  Princess  Marguerite  of  Cambridge.) 

7.  Even  Bravest  Heart  May  Swell,  Gounod 

Mr.  G.  W.  H.  Isham 


8.  Aria  from  Magic  Flute, 

Mozart 

Miss  Mamie  McGettrick 

99 


JOB  WOKK 

Cards 

Private 

Mailing 


Artistic  composition  and  harmonious  color  work  must  be  thought 
out.  They  are  not  the  result  of  haphazard  work,  without  method  or 
purpose  ;  there  must  be  a  reason  for  every  act.  Up-to-date  printing 
is  an  art  and  is  deserving  of  systematic  thought.  The  designs  of 
various  jobs  on  the  preceding  pages  are  purposely  done  in  black 
because  they  afford  the  best  form  for  analysis  and  systematic  stud}^ 

Spend  time  liberally  on  this  analysis  and  criticism.  These 
samples  are  not  perfect,  they  will  bear  honest  criticism  and  no  one 
will  be  offended,  while  you  will  be  sure  to  be  benefited. 

Having  carefully  examined  them  and  decided  on  several  different 
ways  of  resetting  and  bettering  each  one,  the  attention  can  be  turned 
to  the  most  effectual  methods  of  adding  a  little  of  a  second  color  to 
give  more  life  and  force  to  them.  On  these  small  runs,  for  which  a 
fairly  good  price  is  paid,  the  adding  of  a  second  color  does  not 
increase  the  cost  materially,  and  it  is  time  and  money  better  spent 
than  in  hit-or-miss  advertising,  for  in  this  case  it  is  sure  to  bring  the 
customer  to  vou  for  his  next  work. 


Reference  Card. — The  reference  card  on  page  83  is  a  most 
valuable  aid  in  securing  knowledge  and  in  keeping  it  within  reach  for 
instant  use  when  wanted.  The  ruling  can  also  be  placed  upon  the 
back  of  the  card,  thus  giving  it  a  large  capacity.  It  should  be  filled 
in  with  pen  or  typewriter  and  kept  in  a  convenient  alphabetical  file. 
Then,  whenever  one  comes  across  a  bit  of  valuable  information  it  is  a 
simple  matter  to  take  the  proper  card  and  record  where  the  fact  can  be 
found.  It  is  surprising  how  often  when  reading  occasions  will  come 
for  using  these  cards.  In  a  few  months  one  will  have  accumulated  a 
reference  file  of  more  value  than  an  encyclopedia. 


Private  Mailing  Card. — Many  are  under  the  impression  that 
any  large  card  is  a  “  private  mailing  card,”  hence  on  page  84  is  given  a 
private  mailing  card  showing  the  style  and  giving  the  legal  size.  When 
the  card  is  kept  to  this  size  writing  upon  the  reverse  side  is  admissible, 
but  all  larger  sizes  and  odd  shapes  are  the  same  as  any  unsealed  adver¬ 
tising,  and  are  not  postal  cards. 

Business  Cards  should  be  so  displayed  that  the  firm  name  and 
business  can  be  read  at  a  glance,  making  the  firm  name  most  promi- 


100 


nent.  Do  not  attempt  to  fill  up  all  the  white  space  but  rather  group 
the  prominent  features  in  small  type,  making  prominent  by  whiting 
out  liberally. 

The  same  is  equally  applicable  to  tickets,  blotters,  and  desk  cal¬ 
endars.  All  are  to  be  read  at  close  range,  and  should  have  none  of 
the  bold  features  of  the  poster.  Small,  neat  groupings  will  give  the 
hest  results.  Use  as  little  ornamentation  as  possible  on  this  small 
work,  and  when  ornaments  are  used,  first  test  Vjy  comparing  with 
and  without,  to  be  sure  they  are  a  real  help.  This  class  of  work 
affords  admirable  opportunities  for  brightening  up  with  colors,  by 


VERY  FimNC 

Expresses  it  exactly  when  referring  to  AD" 

AMS”  CLOTHING. 

It  is  made  to  fit  STOUT  men  and  TALL 

men  as  well  as  the  “regulars.” 

We  deem  it  MOST  FITTING  that  you  ex¬ 
amine  OUR  LINE  of  this  CLOTHING 

before  deciding  to  pay  vour  tailor  XWICE  AS 

MUCH  for  the  SAME  THING. 

CHAS.  M.  HARDRICSON, 

CLOTHIER  AND  FURNISHER. 

CORNER  CHURCH  AND  MAIN  STS. 

Open  every  evening. 

Sample  of  the  way  some  people  dictate 
style  of  composition  to  their  ,  printer. 

using  a  tint  beneath  a  panel,  or  underscore,  etc.  In  the  case  of 
the  calendar  blotter  if  using  a'  second  color  it  is  well  to  print  the 
holidays  in  it. 

Where  the  product  advertised  is  suitable,  it  is  advantageous  to 
reproduce  it  with  half-tone  cut  in  a  light  tint  of  the  same  ink  used 
upon  the  job. 


JOB  WOEK 


101 


JOB  WORK 

Blotters 

Calendars 

Eeceipts 

Checks 

Mail  Slips 

Envelopes 

Letter  Heads 


In  Blotters,  Calendars,  Etc.,  where  half-tones  are  usedy 
either  print  the  half-tones  in  one  color  and  the  body  of  the  type  in  a 
second,  or  print  the  half-tone  in  both  colors  as  is  explained  under 
half-tones. 

On  Receipts,  Checks,  and  legal  documents,  take  great  pains 
that  no  error  shall  creep  in  which  in  case  of  controversy  should  cause 
loss  to  the  user.  Color  work  can  be  used  in  the  form  of  tints  on 
this  class  of  work. 


Mail  Slips  are  either  single  sheets  or  pamphlets  so  folded  as  to 
slip  into  one’s  mail  with  bills,  invoices,  etc.,  advertising  goods  or 
special  offers.  The  first  page  should  have  more  than  one  color  to 
attract  the  eye  and  should  also  contain  some  striking  cash  propositions, 
that  must  so  interest  and  touch  one’s  pocket  book  as  to  command 
careful  reading.  Little  type  matter,  well  displayed  and  illuminated 
on  the  first  page  will  more  than  double  the  per  cent  of  readers  for  the 
mail  slips. 

Envelope  Corner  Card. — The  first  purpose  of  an  envelope 
corner  card  is  to  inform  the  postmaster  who  the  sender  of  the  letter  is, 
in  case  he  is  required  to  return  it.  It  is  worse  than  useless  to  ask  the 
postmaster  to  “Return  in  ten  days”;  the  law  requires  that  of  him. 
What  is  wanted  is  the  name  and  address  printed  in  small,  plain  type. 
Then,  if  desired,  one’s  business  can  be  added,  thus  securing  an  adver¬ 
tisement.  If  desired,  quite  an  extensive  ad  can  be  placed  upon  the 
envelope,  and,  by  thought,  a  very  attractive  ad  in  colors  is  often 
secured,  which  will  attract  the  eye. 

Letter  Heads  and  Memorandums  require  somewhat  different 
treatment  according  to  the  business  represented.  In  all  the  firm  name 
is  to  be  most  prominent  with  the  business  a  close  second,  and  all  else 
grouped  in  small  type  above  the  main  statement.  Very  small,  neat 
and  tasty  effects  are  required  for  doctors,  lawyers,  and  all  professional 
business,  while  the  commercial  head  gives  more  latitude,  as  it  is 
often  used  to  advertise  the  goods.  Do  not  attempt  to  cover  the  whole 
white  space  allowed  for  the  head  ;  either  group  or  panel  off  the  adver¬ 
tising,  using  just  a  touch  of  color  to  give  life  and  vigor. 


102 


Statements  and  Bill  Heads  require  treatment  very  similar 
to  the  letter  head.  They  are  made  much  stronger  by  grouping  and 
carefully  using  the  w^hite  space  to  its  best  advantage.  In  the  sample 
on  page  98  the  ornaments  at  each  end  of  “Artistic  Printing”  were 
purposely  made  a  trifle  too  heavy  in  order  to  illustrate  the  method  of 
comparisons.  By  placing  a  small  square  of  white  paper  over  each, 
one  will  at  once  see  that  they,  being  blacker  than  the  type,  overshadow 
it  and  detract  from  its  force.  A  lighter  faced  ornament  should 
have  been  used  in  this  place.  By  this  method  of  comparison  and  study 
many  changes  in  these  samples  and  in  your  regular  work  will  be 
suggested  which  cannot  help  broadening  the  zone  of  one’s  usefulness. 


JOB  WOEK 

Statements 
Bill  Heads 
Embossing 


Embossing. — The  following  suggestions  on  embossing  are  espec¬ 
ially  for  the  purpose  of  making  plain  and  simple,  methods  within 
the  reach  of  all,  but  more  particularly  for  those  without  the  especial 
appliances  which,  until  recently,  were  absolutely  essential  for  good 
embossing.  The  time  has  come  when  any  pressman,  with  a  fairly 
strong  press,  can  secure  fine  embossed  eflects  without  any  outside  aid, 
or  by  securing  a  female  die  from  some  engraver,  he  can  do  as  good 
work  as  anyone,  if  he  will  simply  be  careful  to  carry  out  the  detail 
just  as  instructed. 

Embossing  lends  character  and  style  to  a  job  as  almost  nothing 
else  can,  hence  it  should  be  the  aim  of  every  printer  to  be  fully  conver¬ 
sant  with  this  method  of  beautifying  his  work.  There  are  a  great 
many  pieces  of  work  which  will  suggest  themselves  to  one  familiar 
with  embossing  as  especially  appropriate  subjects  for  this  work. 

First  pages  of  folders,  covers,  cards,  letter  heads,  bill  heads,  etc., 
will  all  admit  of  the  simplest  of  all  forms  of  embossing,  the  panel. 
This  can  be  done  as  follows  :  Transfer  the  design  of  some  pretty 
panel  to  a  piece  of  pressboard,  or  any  hard-finished  cardboard,  about 
five  ply.  Holding  a  sharp  knife  slightly  inclined  away  from  the  centre, 
cut  carefully  around  edge  of  the  panel,  being  careful  not  to  injure  either 
the  panel  or  the  surrounding  board.  Mount  the  outside  card  with 
glue  on  a  solid  base,  lock  up  in  chase  and  put  in  the  press.  Fit  the 
panel  into  the  card  on  the  press,  first  having  covered  the  face  of  panel 
with  mucilage  and  then  close  the  press,  and  when  you  open  it  the 
panel  will  be  firmly  fastened  to  the  platen  in  such  a  position  as  to 
exactly  fit  the  female  die.  It  is  best,  in  order  to  secure  accurate  regis¬ 
ter,  before  doing  this  to  prepare  the  press  as  follows  :  Strip  all  the 
packing  from  the  press,  wipe  the  platen  clean  and  then  fasten  a  piece 
of  tagboard  onto  the  iron  with  mucilage  (use  commercial  mucilage,  as 


105 


JOB  WOEK 

Umbossing 


it  will  peal  off  the  iron  better  than  anything  else).  To  this  tagboard 
fasten  the  panels  as  before  described.  Glue  eighteen-point  quads  onto 
the  iron  to  feed  to  and  you  have  avoided  all  trouble  of  inaccuracy 
arising  from  bagging  and  moving  of  packing.  Every  sheet  will  be  fed 
just  alike.  This  is  the  only  means  of  securing  accurate  register  on 
embossing,  and  without  it  embossing  is  a  failure.  When  this  is  fully 
dry  the  panel  can  be  embossed  with  ease,  and  it  will  add  much  to  the 
beauty  of  the  work  in  hand. 

Many  other  forms  of  cardboard  embossing,  such  as  cutting  out 
ornaments  and  large-sized  letters,  borders,  etc.,  will  suggest  them¬ 
selves  to  the  thoughtful  workman,  thus  adding  much  variety  to  his 
work,  simply  by  this  easiest  of  all  methods.  Many  would  be  sur¬ 
prised  to  learn  how  large  a  per  cent  of  the  embossing  is  the  result  of 
clever  cardboard  manipulation. 

For  small  type  and  fine  ornaments,  etc.,  other  means  must  be 
employed.  Here,  then,  a  metal  female  die  becomes  necessary.  You 
have  simply  to  send  a  clean,  unfolded,  black  proof  of  form  to  be 
embossed  to  your  engraver  and  he  will  give  you  either  a  steel,  brass, 
or  zinc  female  die,  and  at  moderate  cost.  In  choosing  type  for 
embossing,  a  moderately  heavy  face  is  best.  Always  put  a  space 
between  letters,  a  card  is  sufficient  if  small  type  is  used,  but  for  large 
type  a  two-point  lend  is  none  too  much. 

Have  the  form  electrotyped  to  avoid  possible  change  by  loosening 
of  quoins  while  printing. 

Choice  of  stock  is  essential,  for  it  must  be  of  a  quality  which  will 
stretch  nicely  without  breaking  the  surface.  Bristolboard,  manilla, 
linen,  bond,  writing,  and  high-grade  medium  usually  give  satisfac¬ 
tory  results  as  also  do  most  of  the  fancy  cover  stocks.  A  smooth  sur¬ 
face  stock  will  not  stand  as  deep  embossing  as  a  rough  surface. 
Always  use  the  best  of  brilliant  inks  on  embossing. 

Nothing  will  give  better  results  than  a  form  printed  in  bronze 
and  then  embossed,  as  the  pressure  on  the  bronze  causes  it  to  be 
smooth  and  very  brilliant,  much  more  so  than  when  not  embossed. 
Use  gold  freely  in  this  work. 

Having  printed  the  form  to  be  embossed,  lock  the  female  die  in 
the  chase  and  put  the  chase  in  the  press  so  firmly  that  it  cannot  move. 
Having  prepared  the  press  as  before  described  by  fastening  a  manilla 
card  to  the  platen,  make  the  male  embossing  die  as  follows  :  With  a 
brush  spread  an  even  coat  of  embossing  composition  over  the  manilla 
card  on  the  platen,  and  over  this  evenly  spread  a  piece  of  tissue  paper  ; 
oil  the  female  die  with  kerosene  oil  and  then  take  an  impression. 
Repeat  this  coat  of  composition  and  tissue  until  male  die  is  of  sufficient 


106 


•strength,  when,  with  a  sharp  knife,  cut  away  the  rough  edges,  leaving  JOB  WORK 

only  a  square  just  large  enough  to  protect  the  die.  Take  a  large 

manilla  card,  cut  out  of  the  centre  a  place  the  size  of  the  die  and  Embossing 

fasten  a  card  onto  the  platen  around  the  die,  thus  getting  a  smooth  Composition 

surface  on  which  to  feed  and  still  keeping  close  to  the  iron.  Glue 

quads  to  the  iron  for  gauges  and  let  the  form  harden,  and  you  have 

only  to  register  the  forms  printed  and  go  on  with  the  embossing. 

The  Embossing  Composition. — There  are  many  compositions 
on  the  market,  but  here  is  one  anyone  can  secure  for  a  few  cents. 

Take  a  covered  dish  and  put  into  it  two  ounces  of  water,  add  a  piece 
of  French  gelatine  two  inches  square,  and  melt.  Add  kalsomine 
until  of  required  thickness,  then  add  a  teaspoonful  of  melted  fish  glue 
and  thoroughly  mix.  Take  no  substitutes  for  these  ingredients. 

The  male  die  can  also  be  made  from  various  other  substances,  as 
papier-mache,  leather,  blotting-paper,  etc.  Novel  effects  can  be 
secured  with  coarse  sand-paper,  using  blotting-paper  for  the  male  die. 

In  using  these  dies  it  is  necessary  to  close  the  impression  and  let  them 
harden  and  the  water  with  which  they  were  dampened  dry  out  thor¬ 
oughly.  A  piece  of  new  belting  can  be  glued  firmly  to  the  iron,  the 
surface  well  moistened  with  water,  and  the  press  closed  upon  the 
female  die,  leaving  it  over  night  to  harden,  when  a  very  firm,  durable 
male  die  will  have  been  made  from  the  leather. 

The  beginner  will  secure  the  best  results  from  the  lighter,  smaller 
grades  of  work.  It  does  not  require  as  much  impression  as  is  gener¬ 
ally  supposed.  Start  with  a  light  impression  and  gradually  increase 
until  it  is  sufficient.  Usually,  the  beginner  attempts  to  emboss  too 
deeply. 

Nice,  accurate  work  all  the  way  is  essential.  Accurate  feeding, 
not  too  hard  so  to  cause  the  stock  to  bound  back  from  the  gauges,  but 
to  just  put  it  clear  there  is  the  best.  Do  not  use  nippers  if  they  can  be 
avoided,  as  they  are  almost  sure  to  move  the  sheet  slightly. 

Neat  female  embossing  dies  can  be  secured  by  using  appropriate 
wood  or  metal  borders,  a  great  variety  of  which  are  easily  obtained. 

In  this  case  use  composition  for  the  male  die,  or  by  putting  the  job 
on  the  press  at  night,  use  wet  blotting-paper,  bringing  the  press 
together  with  firm  impression  and  letting  it  harden  over  night. 

A  neat  female  die  for  embossing  a  card  or  paper  is  made  by  tak¬ 
ing  fancy  cover  papers,  like  alligator,  or  imitation  leather,  and  put¬ 
ting  it  in  the  casting  box  and  pouring  hot  metal  over  it.  If  it  is  a  card 
in  imitation  of  alligator  skin,  first  print  with  a  tint  block  the  size  the 
card  is  to  be  with  brown  ink,  when  dry  emboss  the  tinted  part  with  die 
made  and  a  fine  result  is  secured. 


107 


MENU 

Blue  Points 

Horse-Radish 

Clear  Green  Turtle 

Cream  of  Asparagus. 

Qtieen  Olives 

Celery 

Sliced  Tomatoes 

Baked  Halibut,  Sauce  Genoise 

Potatoes  Princesse 


Boiled  Turkey,  Parsley  Sauce 
Leg  of  Mutton,  Caper  Sauce 

Filet  de  Boeuf,  aux  Champignons 

Cotelettes  de  Volaille,  a  la  Bechamel 

Beignets  Souffles,  au  Chartreuse 


Roman  Punch 


Roast  Ribs  of  Beef,  Dish  Gravy 

Spring  Lamb,  Mint  Sauce 

Green  Goose,  Apple  Sauce 

Boiled  Potatoes  Mashed  Potatoes 

Green  Peas  String  Beans 

Asparagus 


Broiled  Quail  on  Toast 

Guava  yelly 


Chicken  Salad  Lobster  Salad 


Steamed  Fruit  Pudding,  Hard  Sauce 
Lemon  Cream  Pie  ^  Apple  Pie 

Orange  Jelly  Lady  Fingers 

Angel  Cake  Vanilla  Ice  Cream  Fruit  Cake 

Oranges  Bananas  Apples  Plums 
Nuts  Raisins  Figs  Dates 

American,  Roquefort,  Pineapple  and  Edam  Cheese 
Water  Wafers  Soda  Crackers 


Tea  Coffee 

The  Greenwood^ 

August  ly^  igoo. 

108 


Three-color  plates  furnished  by  The  Austin  Engraving  Co,,  Albany, 


THREE-COLOR  PROCESS 
WORK. 


N 

history  of  printing  is  a  succession  of  changes 
and  improvements  all  along  its  course.  It 
is  an  instructive  and  fascinating  history. 
The  art 

times.  So,  that  today,  to  successfully  com¬ 
pete  and  to  satisfy  customers,  one  must 
make  use  of  every  improvement  which  will 
make  possible  more  effective  and  pleasing 
effects  on  the  printed  page.  No  longer  will  your  fastidious  customers 
accept  simply  one  color,  even  when  used  to  its  very  best  advantage. 
The  use  of  color  in  type  forms  has  already  been  considered.  Now, 
we  take  up  the  most  fascinating  branch  of  all,  three-color,  or  photo- 
chromatic  color  work. 

To  be  able  with  three  printings  to  reproduce  in  colors  exactly 
true  and  like  the  original,  any  and  every  article  of  merchandise,  from 
a  roll  of  sausage  to  a  picture,  or  even  nature  herself,  with  all  her 
wealth  of  shade,  tone,  and  variety  of  color,  is  an  achievement  of 
greater  value  even  than  is  yet  fully  realized  by  the  business  advertiser. 
The  meat,  fruit,  flower,  or  picture  advertisement,  which  reproduces 
the  goods  for  sale  so  like  nature  as  to  seem  almost  real  has  a  pulling 
power  far  in  excess  of  its  increased  cost.  Advertisers  are  not  slow  to 
realize  this,  and  avail  themselves  of  it  whenever  they  have  a  progres¬ 
sive  printer  to  execute  the  work.  The  newness,  mystery,  and  uncer¬ 
tainty  of  the  process  keeps  many  printers  from  attempting  three-color 
work.  Yet,  in  a  way,  it  is  not  so  difflcult  after  all,  if  one  understands 
his  business.  He  must  be  familiar  with  the  laws  governing  colors. 
This  book  gives  one  much  general  preliminary  information  along  these 
lines.  It  is  also  necessary  for  one  to  be  a  thoroughly  competent 
printer,  that  he  may  correctly  comprehend  the  details  of  the  work, 
and  the  vital  influence  and  value  of  different  material.  Then  one 
must  avail  himself  of  all  possible  information  showing  the  experience 
of  others  along  this  line. 


preservative  has  kept  pace  with  the 


looking  backward,  one  realizes  that  the 


111 


THKEE- 

COLOE 

PEOOESS 

The  Plates 


It  is  not  possible  for  anyone  to  give  ironclad  rules  to  govern  each 
emergency.  The  conditions  are  almost  never  twice  alike.  The  con¬ 
stant  improvement,  change,  and  advance  in  this  new  field,  make 
rules  impossible.  In  fact,  one  person’s  experience  often  apparently 
contradicts  another’s.  For  instance,  it  is  often  said,  by  good  authority, 
that  the  color  effect  all  lies  in  the  plate,  or  that  to  get  good  results 
there  must  be  a  press  for  each  color,  so  as  to  run  the  colors  before  the 
ink  becomes  too  dry  and  hard.  Yet,  experience  shows  that  while 
there  is  some  truth  in  both  statements,  there  is  also  much  error.  Take 
them  all  and  compare  with  your  own  experience  and  see  what  fits. 
We  give  below  many  useful  hints,  but  they  will  not  always  apply  to 
the  work  in  hand.  The  underlying  principle  of  three-color  work  is 
the  one  governing  the  mixing  of  the  primary  colors  to  secure  all  other 
colors.  So  that  when  two  or  more  colors  are  mixed  in  the  eye  or  in 
pigments,  the  result  is  different  from  what  it  would  have  been  had 
each  been  viewed  separately.  From  proper  combinations  and  in  dif¬ 
ferent  proportions  of  the  three  primary  pigmentary  colors,  all  other 
colors  can  be  made.  Not  until  photography  came  to  our  aid,  wa& 
this  possible  in  printing. 


How  THE  Plates  are  Made. — Whatever  the  object  may  be 
to  be  reproduced,  it  matters  little  what  or  how  many  colors  may  be 
visible,  as  any  and  all  owe  their  origin  to  the  three  primary  colors. 
Hence  the  photographer  places  the  especially-arranged  camera  before 
the  object,  arranges  the  three  light  filters  and  makes  the  negatives. 
Each  light  filter,  which  is  interposed  between  its  sensitive  plate  and 
the  lens,  excludes  all  the  color  rays  except  one,  thus  as  the  three 
filters  are  dift'erent  the  three  negatives  differ,  each  being  made  by  one 
color  ray  only.  When  placed  one  before  the  other  and  light  passed 
through  the  three  there  is  a  perfect  reproduction  of  the  original.  Or 
when  electros  have  been  made  from  the  three  negatives,  one  will  print 
only  the  yellow  part  of  the  picture,  the  next  will  print  only  the  red 
part,  and  the  last  only  the  blue,  then  by  the  overlapping  and  crossing 
of  the  fine  half-tone  lines,  will  be  formed  color  mixtures,  both 
pigmentary  and  optical.  It  is  well  known  that  half-tones  are  made  up' 
of  various  sizes  of  fine  dots,  the  larger  ones  giving  the  deep  shades  and 
the  fine,  small  ones  the  various  lighter  tones  and  tints.  These 
pigmentary  mixtures  of  color  are  produced  wherever  a  dot  of  one 
color  is  laid  upon  a  dot  of  another,  the  mixture  being  almost  perfect, 
producing  a  new  color ;  the  optical  mixture  comes  where  two  dif¬ 
ferent  colored  dots  are  side  by  side,  thus  sending,  say,  a  yellow  and 


112 


blue  ray  of  light  to  the  eye  at  the  same  time,  which  mix  in  the  eye, 
forming  green.  So  it  is  seen,  that  by  either  pigmentary  or  optical 
mixtures  of  the  primaries  all  colors,  shades,  and  tones  become  not 
only  possible,  but  simple  and  easy  to  secure  by  the  use  of  the  three- 
color  half-tone  plates. 

Method  of  Printing. — The  yellow  plate  is  to  be  printed  first, 
great  care  being  taken  that  it  prints  clear  and  distinct,  in  a  pure, 
bright,  primary  yellow.  The  artist  puts  many  of  the  fine  effects  into 
the  yellow  plate,  and,  as  the  red  and  blue  must  be  printed  upon  it, 
care  must  be  taken  to  secure  perfect  results.  This  is  a  case  simply  of 
good  workmanship.  The  register  and  half-tone  work  must  be  perfect, 
as  it  is  simply  a  selection  of  the  perfect  sheets  at  the  end;  hence  the 
final  cost  is  best  kept  at  a  low  figure  by  accurate  feeding.  When 
sufficiently  dry  (from  four  to  eight  hours)  print  from  the  red  form, 
registering  directly  over  the  yellow,  using  as  bright  and  thin  a  coat 
of  ink  as  possible.  Then  print  the  blue  over  all.  There,  then,  is 
nothing  unusual  or  especially  difficult  about  the  work  to  a  good  work¬ 
man.  True,  there  are  many  little  details  which  are  most  essential, 
but  nothing  so  important  as  accuracy. 

First,  let  us  consider  the  selection  of  a  subject.  More  failures 
arise  from  the  lack  of  care  and  judgment  in  this  than  all  else.  Any 
mixture  of  a  mass  of  colors  will  give  good  results.  In  choosing,  avoid 
any  design  full  of  fine  lettering,  as  the  variation  in  register  of  one  of 
the  forms  will  ruin  the  job,  wherever  fine,  small  letters  must  be  built 
up  by  laying  one  line  above  the  other.  Study  the  subject  well  and, 
before  deciding,  become  convinced  that  it  really  is  well  adapted  for 
three-impression  work.  Having  chosen  the  subject,  send  it  to  a 
reputable  house  of  three-color  plate  makers  and  they  will  return  vour 
plates  and  proofs  ready  to  print  from. 

Ink. — In  three-color  work,  the  correct  chromatic  effect  is  obtained 
only  by  using  pure  prismatic  or  primary  colors.  These  colors  must 
be  complementary  to  the  colors  of  the  color-filters  used  in  photograph¬ 
ing  ;  hence  they  cannot  be  selected  at  random  but  must  exactly  match 
the  colors  used  in  the  original  proofs.  The  three  inks  must  be  abso¬ 
lutely  pure,  of  equal  intensity,  and  used  in  the  order  of  yellow,  red, 
blue,  for  to  reverse  blue  and  red  would  make  it  impossible  to  secure  a 
good  violet.  The  ink  for  a  single  job  must  be  all  from  one  manufac¬ 
turer,  as  no  two  houses  give  three-color  inks  alike. 

One  of  the  underlying  principles  of  three-color  work  is  trans¬ 
parency  of  the  ink.  The  inks  are  laid  one  upon  the  other,  in  thin, 


THEEE- 

OOLOE 

PEOOESS 

Printing 

Ink 


113 


THEEE- 

OOLOR 

PROCESS 

Paper 

Press 

Cylinder 


transparent  layers,  in  ever  varying  tones  and  heights  of  color ;  the 
upper  colors  letting  through  them  some  of  the  color  of  the  under  ones 
just  as  light  shines  through  colored  glass;  hence  the  necessity  not 
only  of  pure  but  transparent  color.  Yellow  is  run  first  simply  because 
it  is  not  easy  to  secure  it  sufficiently  transparent. 

Paper.; — Three-color  work  is  expensive,  for  it  not  only  consumes 
much  time  but  requires  the  best  of  stock ;  yet  use  the  best  of  coated 
paper  for  once,  regardless  of  cost,  or  your  work  will  not  be  satisfac¬ 
tory.  Good  stock  tells  in  the  beauty  of  the  finished  product.  A  part 
of  the  accompanying  three-color  illustrations  are  printed  on  coated 
paper  and  part  on  gqod  S.  S.  &  C.  In  this  three-color  illustration 
the  successive  stages  are  given  in  detail,  that  nothing  may  be  left  to 
be  guessed  at.  An  advertising  design  has  been  chosen  for  this,  as  it 
is  for  advertising  purposes  the  work  is  largely  to  be  used.  A  much 
more  perfect  and  beautiful  result  could  have  been  secured  from  a  less 
difficult  subject,  such  as  the  frontispiece,  but  such  a  subject  would  not 
have  shown  the  full  commercial  value  of  the  work  in  reproducing 
articles  of  merchandise.  However,  some  of  the  most  beautiful  three- 
color  pictures  have  been  the  reproductions,  direct  from  the  original, 
of  paintings  of  the  great  artists,  giving  every  detail  with  the  utmost 
fidelity  even  to  color,  tone,  and  hue. 

Presses. — Almost  any  good  machine  will  do.  It  must  be  strong 
to  handle  large,  half-tone  blocks,  must  be  capable  of  registering  every 
time  alike,  and  of  giving  good  ink  distribution.  The  form,  if  prop¬ 
erly  locked  up  with  only  metal  furniture,  will  avoid  shifting  of  plates. 
If  a  job  press,  put  the  chase  always  to  the  left  side  of  the  press,  and 
once  placed,  if  possible,  leave  in  the  press  until  the  job  is  run,  as  it  is 
extremely  difficult  to  replace  without  interfering  with  the  register. 
Make  ready  as  smoothly  and  evenly  as  possible,  fastening  the  gauges 
so  that  slipping  is  impossible.  The  jobbers  allow  of  very  accurate 
register  but  only  few  makes  give  a  sufficient  ink  distribution  to  give 
the  best  possible  results.  If  using  a  different  press  for  each  color  the 
sheets  should  dry  for  several  hours,  but  it  gives  better  results  when 
the  ink  is  not  allowed  to  become  very  hard.  This  applies  most  to 
cases  where  ah  ink  with  too  much  drier  has  been  used.  If  either  the 
ink  distribution,  or  paper,  or  rollers  are  poor,  there  is  little  hope  of 
securing  perfect  work. 

Cylinder  Press. — Three-color  work  upon  a  cylinder  press  is  a 
different  proposition.  It  has  its  advantages  and  disadvantages.  The 

114 


"‘V: 


'v 


■‘V'> 


r.-r.?  > 


distribution  is  infinitely  better  than  on  a  jobber.  A  more  even  color 
can  be  carried,  which  gives  a  much  more  perfect,  even  result.  Many 
of  the  manufacturers  have  yet  to  make  a  cylinder  which  will  allow  of 
no  variation  of  sheet  or  machine.  But,  with  our  present  machines, 
kept  in  pe7'fect  repair^  almost  like  new,  good  results  can  be  secured. 
It  is  not  best  to  try  to  run  too  large  forms,  as  it  multiplies  difficulties 
of  register.  The  first  thing  is  to  put  the  press  in  perfect  order, 
which  means  to  go  all  over  it  and  completely  overhaul  and  repair, 
and,  if  necessary,  refit,  so  there  shall  be  no  lost  motion  or  chance 
to  vary. 

See  that  the  cylinder  rests  properly  on  the  bearers. 

See  that  all  the  presses  to  be  used  on  the  work  are  packed 
alike, — neither  more  nor  less, — nearly  alike  is  not  enough. 

Adjust  the  cylinder  and  bed-racks  and  see  that  all  bolts,  nuts,  and 
set-screws  are  right  and  tight. 

Adjust  the  bed-guards  (one  at  each  corner,  with  set-screw,  hold- 
ing  against  ways)  just  as  accurately  as  possible. 

Bend  the  bars  the  guages  rest  on  as  low  as  possible  to  the  cylin¬ 
der,  for  even  then  the  paper  will  wrinkle  so  it  may  be  necessary  to 
ease  up  on  the  end  grippers  so  the  paper  can  straighten  out  when  free 
to  do  so. 

Set  the  cam  on  the  rod  which  raises  the  gauges  so  the  weight  of 
the  gauges  will  rest  on  the  pin,  not  on  the  gauge  rest,  else  the  rest  will 
spring  back  when  relieved  and  move  the  paper. 

Set  the  gauges  to  lift  just  as  late  as  possible  and  clear  the  cylin¬ 
der  as,  at  best,  there  is  a  second  between  the  gauge  letting  go  and  the 
grippers  taking  hold  when  the  jar  of  the  press  can  move  the  paper. 

See  that  no  roughness  is  at  the  end  of  the  gauges  so  that  they  will 
lift  and  shove  the  sheet  when  they  rise.  Also,  that  they  are  so  bent 
as  not  to  kick  or  lift  the  sheet  when  lifted. 

Carefully  bend  the  grippers  all  to  one  pattern,  so  that  they  will 
touch  just  as  they  did  when  new;  on  end,  not  dragging  flat.  With 
all  the  grippers  set  firmly  together,  file  the  ends  so  that  all  will  be  pre¬ 
cisely  alike,  then  they  must  hit  the  paper  together  if  finally  set  alike. 
Otherwise,  some  one  will  touch  the  paper  sooner  than  the  rest,  shov¬ 
ing  it  this  way  or  that,  and  make  accurate  register  impossible. 

In  case  of  any  inaccuracy  of  register  first  test  the  cylinder  to 
determine  if  the  trouble  is  in  the  bed  or  cylinder,  let  the  form  print 
on  the  packing  several  times,  and  if  it  shows  no  variation,  you  may- 
know  that  it  lies  in  the  gauges,  grippers,  or  paper. 

Glue  the  packing  firmly  at  the  head  and  lay  smooth  and  tight. 

All  this  carefully  done  should  insure  perfect  register. 


THEEE- 

OOLOE 

PEOOESS 

Cylinder 

Press 


125 


THREE- 

OOLOE 

PROCESS 

Ifewspapers 


Many  trials  will  be  met  along  the  way  of  three-color  work.  The 
slightest  change  in  form,  quoins  loosening,  or  plate  becoming 
unfastened  from  the  block  so  it  can  shift,  yielding  furniture,  or  even  the 
effect  of  cold  or  heat,  which  contracts  or  expands  both  paper  and  cuts, 
all  combine  to  try  one’s  patience  and  skill  at  overcoming  difficulties  as 
in  no  other  branch  of  printing.  Change  of  temperature  from  night  to 
morning  will  make  it  necessary  to  tighten  a  quoin  here  and  there 
before  starting  in  order  to  secure  accurate  register.  But  the  finished 
product  is  well  worth  the  labor  bestowed.  It  at  first  seems  expensive 
and  it  is  the  most  expensive  printing  and  at  the  same  time  the  most 
valuable,  commercially.  Where  three-color  work  is  liable  to  replace 
lithography,  in  many  instances,  it  becomes  a  means  of  great  economy. 

The  field  of  usefulness  for  three-color  process  work  is  rapidly 
widening.  It  gives  the  most  attractive,  beautiful,  and  serviceable 
cover  possible  for  pamphlets,  magazines,  etc.,  for  by  it  it  is  possible 
to  put  upon  the  cover  just  the  appropriate  picture  of  scenery,  animal, 
bird,  flower,  or  whatever  may  be  desired,  and  in  its  natural  colors,  so 
that  even  a  child  will  readily  recognize  it.  It  also  makes  possible  the 
illustrating  of  books  as  was  never  possible  before.  The  stores  now 
contain  books  which  have  nearly  every  other  page  illustrated  with 
three-color  pictures  of  all  the  different  birds  or  flowers  in  their  true 
colors.  How  much  this  adds  to  the  value  of  a  book  is  realized  by  no 
one  until  he  takes,  for  instance,  one  of  those  illustrated  botanies  and 
goes  for  a  stroll  through  wood  and  field  some  bright  spring  day,  and 
as  fast  as  he  comes  to  a  different  flower  just  searches  it  out  in  the 
illustrations. 

In  general  advertising  this  work  is  of  incalculable  value.  The 
goods  for  sale  may  be  labeled  and  done  up  in  wrappers  printed  in  just 
as  many  colors  as  one  chooses;  in  fact,  the  labels  can  be  three-color 
reproductions  of  the  goods,  and  the  advertising  can  reproduce  both 
package  and  label  in  every  detail  of  color  and  tone.  Oftentimes  it 
would  require  many  pages  of  type  explanations  to  make  plain  what 
could  be  shown  in  detail  by  the  colored  illustration.  Yet  all  this, 
which,  in  the  past,  had  to  be  done  by  lithographv,  one  color  at  a 
time,  is  now  done  on  ordinary  presses  by  any  careful  workman  and 
with  only  the  cost  of  three  impressions  against  from  eight  to  twelve, 
which  were  required  by  the  old  method. 


Color  Work  on  New^spapers. — Color  work  on  newspapers 
and  magazines  is  coming  to  be  a  distinctive  feature.  The  newspaper 
may  often  use  only  two  colors  to  give  good  effects  or  the  fourth 

i2G 


or  key  plate  may  be  added  to  give  detail  and  distinctness.  The  large  THE.EE- 
number  of  papers  using  colors  in  one  way  or  another,  proves  that  it  COLOR 
has  come  to  stay.  In  magazine  work,  where  there  is  plenty  of  time  PB,00ES[ 
for  careful  work,  the  color  work  for  cover  designs  and  illustrations  is 


almost  invaluable.  Covers  for  magazines  and  for  many  booklets  can 


be  made  just  as  attractive  as  by  lithography  and  at  a  much  smaller 
expense,  and  besides  all  the  work  be  done  at  home.  There  is  no  field 
where  three-color  work  is  destined  to  be  more  used  than  in  magazine 
work.  But  if  one  has  nothing  but  a  rickety  news  press,  it  is  folly  to 
attempt  anything  requiring  accurate  register. 

The  editor  of  the  weekly  is  feeling  strongly  that  one  thing  is 
lacking.  The  city  papers  and  magazines,  Sunday  editions  and  holi¬ 
day  numbers,  are  now  illuminated  with  colors  giving  them  life  and 
new  expression,  and,  in  fact,  increasing  their  sale  materially.  This, 
he  realizes,  is  of  great  value  ;  would  be  of  value  to  his  paper ;  but  it 
seems  beyond  his  possibility.  So  it  would  be  were  it  necessary  to 
have  a  multi-color  press,  high-priced  help  to  operate  it,  and  expensive 
color  plates  and  materials  to  print  from.  This  is  not  necessarv.  No 
large  outlay  or  expense  is  absolutely  necessary.  It  may  be  to  advantage 
to  have  engraved  color  plates  or  laurel  borders  with  which  to  enrich 
the  first  page,  but  it  is  by  no  means  necessary.  Simply  use  the 
material  at  hand.  The  old  press  possiblywvould  not  be  capable  of 
doing  process  work,  but  it  will  do  color  work  with  effective  results. 
By  putting  color  in  the  underscores,  large  letters,  borders,  cuts,  and 
half-tones,  pleasing  results  may  be  obtained  and  yet  use  onlv  the 
material  in  the  office. 

Possibly,  the  greatest  obstacle  in  some  offices  would  lie  in  the 
fact  that  neither  the  “devil”  nor  pressman  have  ever  cleaned  up 
rollers  and  fountain  of  the  cylinder  ready  for  a  colored  ink,  but  there 
must  be  a  first  time. 

Let  us  take  account  of  stock  :  There  is  necessary  a  cylinder 
press  which  is  at  liberty  ;  the  average  newspaper  press  is  idle  over 
one  half  the  time,  so  there  is  no  lack  on  this  score.  Colored  news  ink 
is  not  at  all  expensive  and  the  regular  office  help  can  be  trained  in  a 
short  time  to  do  the  color  work  as  well  as  the  regular  run.  It  comes 
down,  then,  practically  to  simply  the  expense  of  one  or  two  extra 
printings  of  the  first  form  of  the  paper.  This,  on  a  limited  edition,  is 
small.  It  is,  then,  necessary  to  first  meet  this  cost. 

If  the  last  page  of  the  paper  is  printed  in  colors,  tastily  illumi¬ 
nating  the  ads  with  a  touch  of  color,  the  advertising  space  will  become 
enough  more  valuable  to  meet  all  extra  expense.  It  maybe  advisable 
to  begin  first  by  getting  out  a  colored  holiday  edition,  securing  ads 


127 


THEEE- 

OOLOE 

PEOOESS 

Newspapers 


andjwriteups  and  cuts  especially  for  this  color  work.  Take  great 
pains  with  this  issue,  make  it  neat  and  attractive,  using  not  too  much 
color  but  just  enough  to  give  life  and  attract  the  eye,  keeping  to 
harmonious  contrasts  of  color. 

This  first  venture  will  so  please  the  public  and  advertisers  that  a 
large  number  of  extras  will  be  sold,  apd  a  demand  for  a  continuation 
or  occasional  repetition  will  result  and  be  found  profitable. 

All  this  and  much  more  can  be  done  by  simply  tastefully  using 
the  material  in  the  office.  It  will  not  do  itself,  but  a  carefully  laid 
plan,  every  detail  of  which  has  been  arranged  in  advance,  is  sure  to 
bring  financial  gain.  This  is  a  plea  for  excellence  in  appearance. 
The  eye  must  be  attracted  and  gratified  before  the  intellect  is  reached. 
This  fact  is  vital  to  advertisers;  hence  they  appreciate  color  in  adver¬ 
tising.  Shall  the  printer  be  outdone  by  the  manufacturer.^  He  does 
his  merchandise  up  in  as  tasty,  fancy  colored  a  wrapper  as  can  be 
procured.  If  he  did  not  his  goods  would  not  sell,  for  people  would 
fail  to  notice  them.  We  print  for  profit,  profit  comes  from  pleasing 
the  public,  and  it  is  the  public  eye  which  must  be  caught  first.  The 
paper  must  be  neat,  chaste,  simple,  printed  only  with  type  which  is 
easily  read,  not  crowded,  with  plain,  bold  headlines,  well  illustrated^ 
and  if  after  combining  these  excellent  qualities  a  touch  of  red  or  some 
bright,  warm  color  can  be  added  in  rule,  ornament,  or  underscore,, 
the  comparison  between  this  and  the  old  way  will  be  great. 

There  are  other  ways  of  using  colors  to  advantage  in  the  news¬ 
paper  office.  A  colored  cover  can  be  gotten  up  for  the  paper  once  a 
month,  printed  on  good  paper  in  an  attractive  manner  with  colored 
inks,  each  time  using  as  a  frontispiece  a  half-tone  of  some  public 
building,  mill,  or  of  some  prominent  person.  The  cut  can  at  times  be 
printed  in  two  colors,  as  brown  or  green  over  black,  black  over  red, 
etc.  Or  a  colored  single-sheet  supplement  can  be  issued  occasionally 
with  profit. 

Why  should  a  printer,  for  he  is  a  manufacturer,  buy  his  pre¬ 
miums.^  Better  buy  a  few  half-tones  of  local  interest  and  print, 
say,  in  two  colors,  a  neat  illustrated  souvenir  of  the  town,  using  a 
bright  three-color  design  for  the  first  page.  This  will  make  a  pre¬ 
mium  which  all  will  be  eager  to  secure,  many  buying  several  extra 
copies  to  send  away  to  friends  and  old  townsmen.  It  will  build  up 
your  reputation  as  a  first-class  printer ;  is,  in  fact,  your  best  ad  ;  it 
will  enlarge  your  subscription  list ;  and  yet,  will  cost  less  than  any  pre¬ 
mium  that  could  have  been  bought.  Just  one  thing  is  absolutely 
essential,  and  that  is,  do  your  very  best,  and  to  secure  live,  interest¬ 
ing  matter,  fine,  attractive  cuts  and  the  best  of  printing.  Do  not 
hesitate  at  an  extra  impression  for  second  color,  it  will  amply  repay. 


128 


ILLUSTRATIONS. 


CH  of  the  following  illustrative  pages  is 
complete  in  itself.  Truths  of  more  or  less 
interest  to  the  printer  are  emphasized  and 
brought  out  in  a  variety  of  ways  by  different 
styles  of  composition  and  by  color  work. 
The  aim  has  been  to  build  by  means  of  a 
progressive  series ;  setting  first  simply  a 
small,  compact  body  of  type,  then  adding 
first  rule,  then  ornament,  color,  etc.,  show¬ 
ing  the  possibilities  of  growth  and  improvement.  Note  the  appear- 
iince  of  pages  1 30-1 38  inclusive,  and  then  turn  to  the  rule  pages  and 
find  similar  display  surrounded  by  rule  and  it  will  aid  in  deciding  what 
■class  of  work  is  most  benefited  by  being  thus  enclosed.  The  one 
great  point  urged  by  this  book  is  comparison.  The  whole  series  of 
illustrations  is  arranged  with  this  in  view.  These  pages  will  tend  to 
dispel  the  delusion  that  strong,  striking  effects  can  only  be  secured  by 
the  use  of  bold  display  type. 

Many  of  these  display  pages  are  done  in  roman  type  in  its  various 
sizes  in  order  to  show  what  can  be  done  in  any  ofiice  with  the  types 
at  hand.  By  the  addition  of  a  little  color  to  these  first  pages  they  can 
be  brightened  up  and  made  very  attractive  and  neat.  This  addition 
of  color  will  be  found,  in  many  cases,  among  the  color  illustrations. 

While  these  illustrations  are  most  instructive  and  useful,  as  helps, 
guides,  and  incentives  they  must  not  be  simply  imitated,  but  rather 
studied  ;  selecting  some  one  good  point  from  one  page  and  another 
from  the  next,  and  by  their  happy  combination  results  new  and  of  real 
merit  will  be  secured.  The  best  and  most  practical  educator  is  not 
the  college,  nor  the  books,  good  as  they  are  in  their  place.  It  is  the 
training  from  constant  observation,  impelled  by  a  great  longing  and 
desire  to  see  and  assimilate  everything  of  value  which  may  come 
within  one’s  reach.  Nowhere  is  this  more  true  than  in  the  education 
of  the  artist  printer,  either  in  composition  or  color  work.  In  this, 
then,  lies  the  value  of  the  following  samples. 


129 


Care  in  keeping 
down  each  little  item 
of  expense,  that  is, 

Economy 

must  be  the  principal 
source  of  profit  in 
these  times  of  sharp 
competition. 


130 


LABEL  YOUR  MEMORY 

HOW  often  we  hear  or  read 
mterestmgf  and  valuable  facts 
that  could  we  remember  them 
would  be  very  valuable*  He  is  most 
fortunate  who  early  in  life  formed 
the  habit  of  tucking  these  bits  of  in¬ 
formation  away  m  a  labeled  pigeon 
hole  m  his  memory*  Everyone  can¬ 
not  do  this ;  memory  has  not  been 
trained,  but  such  unfortunates  can,, 
by  careful  use  of  the  reference  card 
on  page  83,  secure  all  this  informa¬ 
tion  and  file  it  away  in  a  thoroughly 
systematic  manner* 


OBSERVING  EYE 

VITALLY  IMPORTANT 
RESULT  OF  TRAINING* 

HERE  are  some  men  who 
might  as  well  go  through 
life  blind^  for  they  do  not 
see*  They  are  usually 
preoccupied  with  unim¬ 
portant  things,  and  totally 
oblivious  of  those  things 
which  relate  either  to  their  personal 
or  business  welfare*  ^  ^ 

Too  much  importance  cannot  be 
placed  upon  the  necessity  of  cultiva¬ 
ting  the  habit  and  faculty  of  observ¬ 
ing,  and  especially  does  this  apply 
to  the  color  printer*  Observation  is 
a  faculty  and  it  is  capable  of  wide 
cultivation*  Knowledge  is  valuable 
to  the  colorist  but  the  observant  eye 
is  the  mainstay,  the  one  great,  all 
important  factor  in  harmonious  color 
^VOrk*  e<^ 


132 


KNOWLEDGE  IS  POWER 


It  by  no  means  follows  that  good^ 
neat  work  costs  more  than  the 
cheap,  inferior,  and  unsatisfactory. 
The  unskilled  workman  is  constant¬ 
ly  stopping  to  consider  and  thus 
looses  much  valuable  time. 


KNOWLEDGE  IS  ECONOMY 


A  workman  who  knovjs  his  busi¬ 
ness  and  is  fdthfuly  will  turn  out 
first-class  work  in  very  much  less 
time  than  an  ordinary  hand  will 
require  to  do  inferior  work. 


EMPLOY  ONLY  THE  BEST 


133 


TVHirE  SPACE  AND  IPS 

influence  upon  the  ease  and  distinctness  with 
which  pages  can  be  read  may  be  discerned  by  care¬ 
ful  comparisons  of  the  following  pages.  Proper 
whiting  of  a  job  is  ten-fold  more  important  than 
you  realize. 


RULE  EFFECTS  ADD  MUCH 

to  the  chaste,  neat  appearance  of  a  page,  yet  they 
must  be  used  with  judgment.  Comparisons  will 
show  what  are  the  best  methods ;  never  use  rule. 


ORNAMENTS,  BORDERS  OR 

colors,  unless  by  so  doing  the  work  can  be 
strengthened.  In  some  of  these  illustrations  it 
would  have  been  better  had  certain  ornaments 
been  omitted.  Yet  they  were  used  to  illustrate 
points  which  would  have  been  impossible  otherwise. 


COLOR  MDRK.—THE  COLOR 

samples  are  so  combined  with  type,  ornaments,  and 
initial  letters  as  to  show  a  wide  variety  and  afford 
ample  opportunity  of  selecting  the  best  when  one 
is  about  to  choose  colors  for  the  work  in  hand. 

DISPLAY  ADVERTISEMENTS 

are  also  included  as  a  large  per  cent  of  a  printer’s 
work  is  along  this  line.  These  samples  will  often 
afford  some  helpful  suggestion. 


134 


PONT  LEAN  ON  ANY  ONE. 

For  the  encouragement  of  the  beginner,  who  is  just  coming  into  possession 
of  the  ambitions,  hopes,  fears,  and  biases  which  he  has  in  a  great 
measure  inherited,  let  it  be  said  that  Heaven  helps  those  who  help  them¬ 
selves.”  While  youth  is  most  ambitious,  full  of  desire  and  determination, 
it  too  often  looks  to  chance  or  some  influential  friend  to  open  the  way  for  it 
to  the  realization  of  fond  aspirations.  Hence  it  is  urged  to  stand  alone; 
have  a  definite  purpose strive  only  for  the  best,  to  excel  in  all  things. 


Help  from  without  is  enfeebling,  but  help  from  within  is  invigorating ;  gives 
confidence  and  self  respect.  OiTtside  helps,  teachers,  and  friends,  at  best 
can  only  guide  and  leave  one  free  to  help  himself.  Every  man  is  governed 
from  within. 

The  following  samples  will  prove  most  helpful ;  you  need  their  inspiration 
but  do  not  attempt  to  blindly  follow  them. 

MAKE  YOUR  OWN  DESTINY. 


135 


A  Manufacturer's  Method  of  Illustrat¬ 
ing  the  How  of  Buying  a  Press* 

¥ 

Don’t  you  remember  that  the  first  time  you  went  to 
a  circus  your  admission  ticket  simply  admitted  you  to 
a  lot  of  assorted  temptation  ?  The  red  lemonade,  pea¬ 
nuts,  popcorn,  candy,  gingerbread,  side  shows,  concerts, 
and  extras,  cost  you  more  than  the  admission. 

‘‘  The  show  man  doesn’t  always  do  business  under 
tents.  He’s  in  the  printing  business,  too ;  makes  a 
great  show  ;  talks  eloquently  to  loud  presto  music  ;  and 
gets  fat  on  credulity.  Beware  of  alluring  “  bargain  ” 
presses  on  which  a  low  price  makes  more  noise  and 
attracts  more  attention  than  the  vital  questions  of  quality 
and  production. 

“Admission  to  the  circus  is  not  merely  the  cost  of 
the  ticket.  It  is  the  sum  of  all  you  spend  in  the  circus. 
So  the  price  you  pay  for  a  printing  press  is  the  sum  of 
all  it  costs  you  in  stoppages,  delays,  and  repairs  during 
the  first  year. 

“You  remember  the  man  who  reaped  a  fortune  by 
making  watches  for  $6  and  selling  them  for  $5.  People 
wondered  how  he  did  it — until  they  saw  the  size  of  his 
repair  department. 

“  Look  first  to  the  construction,  durability,  and  product 
as  well  as  the  price  of  a  printing  press  before  you  buy.” 

MORE  TRUTH  THAN  POETRY 


136 


TRUSTWORTHINESS. 


O  W  literally  true  the  quotation  from  Mr.  Stewart,  given  herewith 
is,  can  be  fully  appreciated  only  by  those  who  have  passed 
through  the  trials  of  practical  experience.  In  color  work  more 
than  in  any  other  branch  of  printing,  are  the  highest  qualifications 
of  vital  importance.  The  perfect  pressman  is  he  who,  however 
carefully  he  may  have  set  his  fountain,  is  constantly  lifting  a 
sheet  from  the  fly  that  any  change  in  color  or  accident  to  the 
form  shall  be  detected  before  serious  loss  is  incurred.  He  will 
never  lift  these  sheets  with  smutty  hands,  for  he  realizes  that 
while  one  sheet  is  only  a  trifle,  yet  the  accumulation  of  waste  sheets  from 


one  or  more  presses  is 
fully  aware  that  by  care 
keep  this  expense  down 
what  the  careless  work- 
This  is  but  one  instance 
be  given  where  it  is 
workman  to  reduce  the 
one  half.  The  young 
rise  and  come  into  posi- 
sibility  can  learn  from 
lesson.  Be  neat,  waste- 
material  nor  time.  No 
ciated  than  the  hand  who 
thinks  his  employer 
worth  while  to  strive  for 
nomical,  and  the  approval 
assignment  of  work, 
stepping-stone  to  promo- 
ing  on  time,  not  five  or  ten 
ness  in  executing  an  order. 


ALEXANDER  A. 
STEWART  says: 


quite  an  item,  and  he  is 
and  forethought  he  can 
to  less  than  one  half 
man  would  make  it. 
out  of  many  which  might 
possible  for  the  careful 
expenses  of  an  office  fully 
printer  who  wishes  to 
tions  of  trust  and  respon- 
this  a  most  valuable 
ful  in  nothing,  neither 
one  is  more  fully  appre- 
studies  to  do  work  as  he 
would  want  it.  It  is 
the  best,  the  most  eco- 
of  superiors  in  each  little 
Promptness,  also,  is  a 
tion  ;  promptness  in  arriv- 
minutes  late,  and  prompt- 
instead  of  postponing  it 
Elbert  Hubbard  says  :  My  heart  goes 


“Order  and  cleanli= 
ness  are  imperative. 
The  pressman  who 
does  not  keep  his 
press  in  good  order, 
or  take  proper  care 
of  the  rollers,  or 
handle  inks  neatly, 
or  who  neglects  to 
keep  himself  reason^ 
ably  clean,  cannot 
be  depended  upon  to 
turn  out  work  that 
is  of  good  and  even 
color,  accurate  in 
register,  and  free 
from  finger  marks 
and  similar  charac= 
teristics.’’ 


until  possibly  it  may  be  forgotten, 
out  to  the  man  who  does  his  work  when  the  ‘boss  ’  is  away,  as  well  as  when 
he  is  at  home.  *  *  *  Civilization  is  one  long,  anxious  search  for  just  such 
individuals.  Anything  such  a  man  asks  shall  be  granted  ;  his  kind  is  so  rare 
that  no  employer  can  aflFord  to  let  him  go.  He  is  wanted  in  every  city,  town, 
and  village  *  *  *  .  The  world  cries  out  for  such  ;  he  is  needed  *  *  *  badly.” 


137 


TH15  WAY  TO  FAILURE. 


Rush  ! 

Almost  is  good  enough. 

Never  reset  a  line. 

The  ink  on  the  press  is  near  enough. 

Why  should  the  customer  want  ink  to  ;natch  sample.^ 

Commence  to  make  ready  and  patch  the  first  proof  taken. 

Use  lots  of  waste  and  benzine  in  cleaning  up,  a  little  waste  won’t  cost 
much. 

Forget  to  set  the  fountain  until  four  hundred  are  run,  then  throw  them 
away,  the  customer  will  never  miss  them. 

Stop  and  ta-lk  bicycle  and  base  ball  with  the  man  next  you  every  time 
you  get  a  new  lift  of  paper. 

Nev^er  mind  staying  ten  minutes  over  time  to  finish  the  job  when  prom¬ 
ised,  the  customer  just  thinks  he  wants  it  ton  ight. 

Don’t  clean  the  rollers,  it  injures  them. 

Don’t  put  the  cover  on  the  ink  can,  it  takes  valuable  time. 

Don’t  fuss  to  push  down  quads  that  show,  it  would  make  the  job  cost 
too  much  to  stop  to  lock  the  form  up  over. 

When  laying  new  type,  tumble  it  into  the  case  any  old  way. 

Never  bother  to  plane  down  the  form,  the  pressman  will  make  it  ready. 
Take  work  at  any  price,  you  must  keep  the  help  busy. 

Push  the  fire  and  open  the  windows,  v/ood  is  cheap. 

Never  mind  the  leaky  faucet,  it’s  a  bother  to  fix  it. 

Never  lace  a  belt  until  it  breaks. 

Let  the  “  devil  ”  run  the  office  and  go  to  all  the  ball  games,  you  have 
only  one  life  to  live. 

Don’t  trouble  to  cover  the  finished  work,  a  little  dust  won’t  hurt ;  the 
customer  may  never  pay  for  it,  anyway. 

Run  lots  of  ink,  it  is  easier  than  to  make  ready. 

Never  mind  if  the  job  does  offset. 

Never  sort  out'spoiled  sheets. 

Never  use  offset  sheets,  its  an  expensive  habit. 


138 


THIS  WAY  TO  SUCCESS. 

Be  satisfied  wit^  nothing  but  the  best. 

Find  out  just  what  a  customer  wants. 

Always  do  a  little  better  than  you  promise. 

Never  fail  to  deliver  work  when  promised. 

Please  the  customer,  not  yourself. 

Never  disappoint. 

Give  liberal  measure. 

Use  only  good  stock. 

Use  brilliant  inks. 

Never  discard  a  piece  of  waste  while  it  is  still  serviceable  ;  It 
costs  little,  but  to  use  two  pieces  instead  of  one  doubles  that  item 
of  expense. 

Let  customers  learn  to  always  expect  to  find  you  in. 

Form  the  habit  of  wiping  the  stone  before  laying  a  form  on  it, 
and  of  wiping  the  bottom  of  a  form  before  putting  it  in  the  press. 
Distribute  dead  type  promptly  and  accurately. 

Reset  the  part  you  are  not  satisfied  with. 

Remember  poor  work  drives  customers  away. 

Good,  neat  work  is  your  best  advertisement. 

Time  is  money. 

Save  steps  by  having  everything  as  convenient  and  handy  as 
possible. 

Study  to  so  know  your  business  as  to  be  able  to  do  it  right  the 
first  time  trying. 

See  to  it  that  valuable  time  is  not  wasted  in  shiftless  makereadv. 
Insist  on  the  help  commencing  work  promptly  on  time  every 
day.  You  will  then  need  one  man  less. 

Superintend  your  own  work. 

Watch  the  little  details  yourself. 

Compare  difierent  jobs  at  every  opportunity.  In  these  two  pages 
is  illustrated  the  difierence  between  a  page  with  and  without  a 
rule  border.  Does  the  border  give  the  second  page  a  more 
finished  appearance.^ 


139 


What’s  the  Perfect  Form  for 
Display  ? 

Is  it  all  display  ? 

Is  it  all  head  ? 

Is  it  only  rule  forms  ? 

Is  it  all  ornamentation  ? 

Is  it  always  the  square  effect  ? 

Is  it  all  capital  letters  ? 

Is  it  all  roman  ? 

Is  it  always  fancy  type  ? 

Is  it  always  the  latest  style  of  type  ? 

Yes,  it  is  all  of  these,  some  of  the  time,  but  no  one  of  them 
all  of  the  time.  The  true  artist  is  not  one-sided  ;  he  is  gov¬ 
erned  by  suitability  and  fitness  m  his  choice.  He  is  not  con¬ 
trolled  by  style,  but  rather  controls  the  style.  He  fully  appre¬ 
ciates  each  of  the  different  methods  of  display,  gives  to  each 
its  proper  position,  and,  when  an  occasion  arises,  he  uses  the 
method  best  suited  to  the  particular  work  in  hand. 

Quite  a  variety  of  rule  illustrations  are  given  in  the  follow- 
ing  pages,  showing  a  wide  possibilitv  in  this  line,  yet  it  does 
not  follow  that  this  book  endorses  only  rule  work. 

It  is  by  intelligent,  harmonious  combinations  of  these 
methods  that  the  perfect  form  ”  is  secured.  The  style, 
which  may  be  perfect  in  one  instance,  may  be  far  from  appro¬ 
priate  for  the  very  next  piece  of  work. 


140 


MEDIUM  HEAVY  RULE 


HAVE  YOU  NOTICED  THE  CHANGE? 


OW  THE  EAD  OF  FANCY  AND 
BENT  RULE  RAGED  FOR  A 
TIME !  It  has  gone ;  so  have  many 
other  fads,  and  they  have  left  the  firm, 
straight  rule  in  full  control.  A  page 
of  type,  at  first  so  unfinished,  becomes 
forceful,  strong,  even  striking,  when  enclosed  with,  for 
instance,  simply  a  two-point  black  face  rule,  or  cut  into 
panels,  underscored,  etc.  No  other  form  of  decora¬ 
tion  is  now  more  universally  used  on  the  best  class  of 
display.  With  its  almost  limitless  possibilities  of 
change,  it  is  equally  forceful  either  for  one,  two,  or 
more  color  work.  On  the  following  pages  will  be  given 
a  variety  of  different  styles  for  using  rules  for  borders 
and  decoration.  This  series  commences  with  simply 
plain  rules  and  type  effects.  Then,  taking  many  of 
the  same  rules  and  by  adding,  first  ornaments,  then 
borders,  and  finally  colors,  a  progressive  series  of 
illustrations  is  secured  which  will  suggest  almost 
limitless  possibilities  to  the  mind  of  an  observing 
printer.  Nothing  exhaustive  is  attempted,  but  rather 
to  simply  show  the  great  possibilities  of  variety  and 
beauty  which  may  be  obtained  with  only  small  means 
and  where  but  a  few  styles  are  possible. 


141 


SIMPLICITY  IS 
DIRECTNESS 

and  is  too  often  conspicuous 
by  its  absence.  Display  must 
be  so  strong  and  effective 
that  it  will  not  mar,  but  add 
strength  to  the  work,  and  so 
plain  and  frank  as  not  to  be 
misunderstood. 


Simplicity  here  means  to  reduce 
printing  effects  to  their  lowest 
terms ;  to  use  nothing  that  shall 
obscure  or  make  difficult  the  grasp¬ 
ing  of  the  full  meaning  of  the 
author’s  thought. 


The  following  pages  will  often  lack  this 
simplicity  as  the  pages  are  arranged,  not 
only  for  type  effects,  but  to  show  different 
combinations  and  methods  of  using  orna¬ 
ments  and  color. 


142 


ARE  SERIES  OE  TYPES 
ADVISABLE? 

TWO  POINTS  HAVE  BEEN  SETTLED  IN 
THE  MINDS  OE  CAREEUL  PRINTERS. 


Y  Ji  ONE  FONT 
-1,  I  of  a  series  is 
worth  having, 
it  is  w i s cl o m 
and  economy 
to  have  the  whole 
series. 

If  a  font  of  ty|3e  is 
worth  having,  get 
enough  to  answer  all 
reasonable  demands. 

H  aving  the  series 
will  often  result  in 
securing  more  attrac¬ 
tive  setting,  enabling 

the  choosing  of  the  line  which  fits  the  place  best. 

Having  sufficient  is  a  great  means  of  economy 
of  time.  It  prevents  the  most  expensive  of  lux¬ 
uries,  a  constant  hunt  for  sorts. 

Once  possessing  a  complete  series  with  good, 
full  cases,  strive  to  keep  the  type  in  the  cases 
ready  for  instant  use. 


148 


Nothing 

so 

V aluable 
as 

T'ime 


THE  HOW 
OF  SUCCESS 


To  every  true  artist j  time 
is  of  all  things  the  most 
valuable'^  hence  none 
should  be  wasted. 

Everyone  sho^dd  secure 
as  complete  a  library  as 
possible,  composed  of  books 
and  papers  bearing  upon 
his  trade.  Keep  part  of 
this  library  at  home,  part 
at  his  place  of  business, 
a7td  pai't  always  about 
his  person,  then,whenever 
circimistances  force  an 
idle  half-hour,  he  is  sure 
of  inter estmg  and  profit¬ 
able  reading  and  study. 


144 


145 


THE  FIRST  AIM  IN  DISPLAY 
IS  TO  CATCH  THE  EYE  AND 
HOLD  THE  ATTENTION  .  .  .  . 


Always  make  the  principal,  im¬ 
portant  fact  in  the  matter  to  be 
displayed  most  prominent  and 
striking-;  subordinate  wording  and  orna¬ 
ment  should  be  secondary  and  retiring 
to  add  force  to  the  main  facts,  and  all  so 
harmoniously  connected  as  to  be  but 
one  single  whole  when  read.  The  per¬ 
son’s  attention  must  be  challenged  then 
if  it  proves  a  matter  of  real  interest  to 
him  the  desired  result  is  assured. 


BLACK  IS  MOST  PROMINENT 

OF  ALL  COLORS 

RED  UNDERSCORES 

CHALLENGE  ATTENTION 


SETTING  THE  WHOLE  AD  IN 
ONE  SERIES  OF  TYPE,  GIVES 
SOFT,  SMOOTH  EFFECTS  THAT 
PLEASE  THE  ARTISTIC  EYE  ^ 


UP 

TO 

DATE 

TYPE 

DISPLAY 


It  may  be  char§;ed  that  they  are 
beautiful^  but  do  not  advertise^ yet 
it  is  safe  to  assume  that  some  of  the 
time  the  eye  desires  soft,  blending 
beauty  in  the  printed  page,  as  well  as 
loud,  striking  contrasts*  These  attrac,- 
tive  harmonies  can  be  secured  by  the 
use  of  a  series  of  type.  In  fact,  consid¬ 
erable  contrast  and  emphasis  may  be 
secured  by  the  use  of  the  different 
sizes,  capitals  or  capitals  and  lower  case 
of  the  series.  When  combined  with 
plain,  chaste  rule  effects,  the  result  be¬ 
comes  noticeably  excellent. 


By  this  it  is  not  meant  to  invari¬ 
ably  use  nothing  but  series,  or  to 
choose  some  one  series  and  use 
that  to  the  exclusion  of  all  others, 
but  rather  with  taste  and  much 
thought,  to  select  the  series  and 
style  most  suited  to  the  work  in 
hand,  and  having  made  it,  cling 
to  it  to  the  end  of  the  job. 


147 


A  FEW  VITAL  FACTS 


So 

Why  is  it  so  difficult  for  one  to  do  what  is  so 
simple  to  another?  With  what  ease  we  eat, 
walk  and  talk;  doing  daily  matiy  things  with 

Easy 

such  familiarity  that  we  are  not  even  conscious 
of  them.  Yet  it  took  babv  many  months  of  coo¬ 
ing,  stammering  and  trying  to  learn  to  talk. 

Yet 

How  skillfully,  easily  and  almost  unconciously 
the  artist  paints,  or  the  sculptor  cuts  and  hues 

So 

the  great  rough  boulder  until  the  beautiful  pic¬ 
ture  or  statue  is  secured.  What  marvelous 

Hard 

beauty  is  wrought  by  the  skilled,  deft  hands  of 
the  artist  printer.  So  difficult,  yet  so  simple  ! 

Learn 

There  is  a  science  of  life,  of  printing,  of  color. 

the 

of  light,  and  of  everything  that  is  to  be  well 
done.  Study  to  know  the  science  if  you  would 
be  the  artist;  it  is, so  easy — when  you  have 

Science 

learned. 

Live 

There  is  an  art  of  living,  an  art  of  doing.  Art 
is  the  expression  of  one’s  familiarity  with 

the 

science.  The  life  or  the  work  that  fails,  lacks 
simply  knowledge  of  the  science.  The  artist 
loves  that  one  thing  more  than  all  else,  hence 

Art 

he  will  do  easily  the  beautiful,  the  artistic,  the 
truly  great  and  valuable. 

148 


HAVING  GIVEN. ,  ■ 

a  few  illustrations  of  plain  rule  work 
we  now  take  just  one  step  more.  It 
is  only  by  taking  one  step  at  a  time  that 
we  learn  anything  well,  hence  first  practice 
doing  one  thing  until  it  becomes  easy,  then 
take  just  one  more  step  and  continue  the 
growth  in  knowledge  and  experience. 

The  next  eight  pages  become  a  little 
more  decorative,  relieving  the  severe  plain¬ 
ness  by  adding  a  little  ornamentation. 
Here  one’s  taste  comes  well  into  play. 

a 


It  IVill  Never  Do 


expect  perfect  work  if  the  rol¬ 
lers  are  hard  or  unfitted  for  the 
work  in  hand,  is  unreasonable. 
Distribution  is  never  quite  as 
good  as  might  be  desired,  in  oth¬ 
er  words,  almost  any  job  would 
be  better,  cleaner,  and  more 
perfect,  had  the  distribution 
been  more  complete.  What, 
then,  can  be  expected  when  the 
rollers  refuse  to  carry  or  handle 
the  ink?  Care  for  and  protect 
the  ink  rollers  as  tenderly  as 
the  explorer  does  his  compass. 
Good  rollers  are  priceless. 


150 


¥  ¥  ¥ 

¥  ¥  ¥ 

¥  ¥  ¥ 


Printing  ^ 


ART 

OF 

ARTS 


^ 

.Jt  .Ji  .J? 

^  ^ 
s  s 


S  ^  S 
S  S 


need  not  be  the  DULL  ROU¬ 
TINE  affair  it  too  often  seems 
to  the  average  printer.  In  fact, 
it  is  the  art  of  arts  to  the  true 
printer.  He  sees  not  only  the 
importance  of  true  economy 
and  good  business  principles, 
but  the  various  artistic  elements 
and  possibilities  involved.  It 
ceases  to  be  a  struggle  to  se¬ 
cure  the  largest  amount  of 
work  for  the  smallest  amount  of 
money,  and  comes  to  be  the 
highest  artistic  effect  and  high¬ 
est  commercial  value. 


\ 

\ 

^  i 

h 

i 

Good  printers 

ARE  SCARCE. . . 

Only  5%  will  avail  themselves  of  a 
help  such  as  this  book^  even  when 
offered  almost  as  a  gfift*  Why  is  this? 


Few  boys  or  men  are  willing  to 
give  the  earnest  application  neces¬ 
sary  to  become  proficient  in  any 
line  of  work.  Many  a  printer  has 
a  natural  aptitude  for  designing 
and  executing  fine,  tasteful  work, 
but  yet  only  a  few  are  willing  to 
apply  themselves  to  the  detail  of 
the  technique  necessary  to  become 
both  accurate  and  quick  in  think¬ 
ing  and  executing  at  one  time. 
Good,  careful,  and  accurate  work¬ 
men  are  so  scarce  as  to  always  be 
in  demand,  and  able  to  command 
good  wages. 


HE  WHO  WOULD  SUCCEED 
MUST  THROW  HIS  WHOLE 
SOUL  INTO  IT  AND  MAKE  IT 
THE  RULING  THOUGHT  OF 
HIS  LIFE.  ^  ^  ^  ^ 


152 


So  don’t  fail  to  give  your  customer 
credit  for  knowing  good  work  when  he 
sees  it.  It  will  please  him,  and  that  is 
profitable,  for  by  pleasing,  future  work 
is  secured  and  business  is  never  “  dull.” 


He  Is  Looking  at  You 


153 


ORIGINALITY 

BE 

YOUR- 

Strive  to  be  original, 

SELF 

strive,  study,  think,  work. 
The  habit  of  carefully  ex¬ 
amining  the  work  of  artists 

{g 

is  most  beneficial.  It 

broadens  one’s  field  of 
possibilities,  it  trains  the 
mind  and  eye  to  a  higher  • 

d 

taste.  It  must  not  be  al¬ 

lowed,  however,  to  lead 
one  into  the  slavish  habit 
of  copying  instead  of  orig¬ 

d 

inating.  Let  the  beau¬ 

tiful  stimulate,  but  by 
all  means 

^  BE  ORIGINAL  ^ 

IBI 

■ 

154 


nrLrLnjuT. 


J~\ON'T  attempt  to  be  fttnny  or 
too  striking,  for  as  the  well- 
dressed  man  is  the  man 
whose  dress  one  does  not  notice  at 
all,  so  printing  that  gives  vaht- 
able  publicity  must  be  so  simple 
and  perfect  in  its  hamno^iies  that 
the  reader  shall  see,  not  the  prmt- 
ing,  but  the  thought  that  gives  it 
life.  Symmetry  enters  most  subtly 
into  the  appeal  of  the  printed page, 
he7tce  seemingly  careless,  yet  chaste 
effects,  are  most  effective. 


155 


TAKE  YOUR 
OWK. . . 
MEDICINE 


ADVERTISE! 


The  first  and  vital  point  even  for  a  printer 
is  to  advertise,  and  keep  everlastingly  at 
it.  Judiciously  done  it  pays.  Do  not  do 
it  blindly.  Yet  it  will  avail  little  to  attract 
customers  by  finely  written  ads,  unless 
their  work  is  executed  even  better  than 
they  expected.  Always  do  more  and  bet¬ 
ter  than  you  agree.  It  is  your  best  ad; 
the  customers  then  come  again. 


GOOD  GOODS 

ADVERTISE 


156 


»> 

»> 

•> 


STEP  BY  STEP 

STRIVE  TO  KNOW  AND  TO  DO  THE 
SIMPLEST  FORM  WELL  BEFORE  AT¬ 
TEMPTING  THE  MORE  COMPLICATED 


c« 

c« 

<• 

c* 

c« 

c* 


»> 

»> 

»> 


The  following .  pages  take  on  one  more 
effect,  combining  rule,  border,  and  orna¬ 
ment,  in  ways  which  will  be  suggestive 
and  helpful  to  the  careful  student.  It 
has  appeared  advisable  to  go  into  the  de¬ 
tails  on  this  one-color  series,  as  for  many 
printers  they  will  prove  most  helpful  and 
will  be  more  readily  grasped  than  the  work 
later  on.  Besides,  having  by  study,  com¬ 
parison,  and  much  practice,  become  famil¬ 
iar  with  the  one-color  work,  it  is  easier  to  at¬ 
tempt  the  more  difficult.  The  artistic  taste 
is  not  acquired  in  a  day,  but  is  the  result  of 
precept  upon  precept  acquired  by  study, 
diligent  searching  after  the  true,  the  best, 
and  is  literally  step  by  step;  never  by  leaps 
or  bounds. 


c« 


157 


1 

Vardon  the 

Suggestion 

Don't  attempt  fancy^ 
ornamental  work  un- 

til  you  are  thoroughly 
familiar  with  all  the 
tittle  details  of  plain 
one-color  work  .  ♦  . 

COPYRIGHT,  1900, 

THE  MALTED  CEREALS  COMPANY 

BE  THOROUGHLY 

1 

FAMILIAR  WITH 

EVERY  DETAIL,  i 

158 


Proofs  For 

Engravers, 

K  at  any  time  it  is  desir¬ 
ed  to  secure  fac-similes 
of  a  letter^  proofs  of  an 
engraving,  type  form  or 
anything  requiring  a 
change  or  reproduction 
from  the  original  in 
some  way,  send  to  the 
engraver  as  perfect  a 
deep,  black  proof  as 
possible*  Do  not  use 
colored  inks*  Mail 
proofs  flat,  between 
cards*  Do  not  fold  or 
crease*  ^  ^  ^  ^ 


160 


Is  the  printer  who  is  mak¬ 
ing  a  first  class  success. 
He  does  not  consider  it 
beneath  him  to  solicit  either 
job  work  or  advertising. 
He  not  only  hustles  early 
and  late  in  the  office,  but 
he  hustles  out  of  the  office, 
even  out  of  the  city  into 
the  tributary  towns,  and 
makes  business  friends  of 
all  who  admire  a  hustling 
business  man. 


RESULTS  TELL 
. .  THE  STORY . . 


161 


HOW  TO  GET  OUT 
OF  THE  RUT 


THIS  IS  A  VITAL  QUESTION.  FIRST  DECIDE 
THAT  COST  WHAT  IT  MAY,  YOU  MUST, 
YES,  WILL,  GET  OUT  OF  THE  RUTS  OF  CARE¬ 
LESSNESS,  INDIFFERENCE  AND  IGNORANCE. 


It  will  be  nothing  less  than  a  revolution  to  many 
but  the  reward  is  great.  It  means  not  only  suc¬ 
cess  but  self-respect  and  confidence  ;  so,  armed 
with  an  unlimited  quantity  of  courage  and  push 
as  your  capital,  just  commence  now^  not  tomor¬ 
row.  Study,  experiment ;  and,  yes,  you  will  fail 
sometimes  but  with  good  courage  it  will  surprise 
you  to  see  how  different  the  work  seems,  how 
much  more  pride  you  feel  in  doing  it  right  and 
how  it  mortifies  you,  if  by  chance  the  “devil” 
almost  spoils  the  job  by  his  heedlessness.  The 
work  and  life  even  will  take  on  an  entirely  new 
and  fascinating  appearance  once  carelessness 
and  indifference  have  been  banished,  and  one 
is  led  to  throw  his  whole  soul  into  seeking  for 
the  knowledge  which  alone  has  the  power  to 
transform  mere  existence  into  real  living. 


163 


"'That  is  the  question." 


Who  is  Running: 
Your  Business? 


Some  one  person  must  be  authority,  must 
control  and  direct  a  business  in  order  for 
economy  and  success.  This  one  must 
keep  his  hands  off  the  work,  thus  leaving 
his  mind  free  and  at  liberty  to  act  quickly 
and  ititelligently  in  making  the  many 
important  decisions  which  arise  hourly  in 
a  busy  office.  He  must  decide  every 
question  and  doubt,  and  no  man  can  do 
this  properly  and  at  the  same  time  have 
his  mind  occupied  with  the  details  of  a 
small  job.  If  there  is  just  one  supreme 
authority,  and  he  is  alive  to  his  position, 
he  can  almost  double  the  output  of  an 
office. 


164 


TWO-COLOR  EFFECTS 


With  One  Impression 


^HESE  pagfes  gfive  tllus- 
trations  of  two-color 
effects  by  one  printingf, 
simply  by  tisingf  col¬ 
ored  paper  and  the  ap¬ 
propriate  color  of  ink* 
Harmony  of  related 
colors^  between  ink 
and  paper  will  amply  repay  one 
for  much  careful  study  and  labor* 
It  will  beautify  your  work  be¬ 
yond  what  one  would  expect 
and  yet  cost  nothing;  extra*  ^ 
Nothing;  is  of  more  importance, 
all  thing;s  considered,  than  har¬ 
mony  of  paper  and  ink*  ^ 
When  a  firm  is  constantly  send¬ 
ing;  out  advertising;  it  is  desirable 
that  each  piece  in  a  series  shall 
appear  different  from  the  last 
that  it  may  attract  attention* 


1(!5 


This  may  be  secured 
in  different  <Tvays  *  * 


GOOD  WORK  IS 
NEVER  DEAR  ^ 


FIRSTS 
PAGE  tsc 
EFFECT 


STRIKING. 

ATTRACTIVE. 

ON  pamphlets  and  folders 
always  aim  to  make  the 
front  page  as  strong  and 
attractive  as  possible,  that 
it  may  catch  the  eye.  To 
the  color  printer  many  oppor¬ 
tunities  are  open  along  this 
line.  A  touch  of  red  ornament, 
border,  rule,  etc.,  will  add  great¬ 
ly  to  the  life  and  vigor  of  the 
page.  Where  but  one  color 
is  to  be  used  all  depends 
upon  the  skill  of  the  operator 
in  securing  striking  contrasts 
by  type  effects,  borders,  and 
ornaments.  The  half-tone  also 
affords  much  assistance  in  this 
as  a  nicely  executed  half-tone 
always  demands  considerable 
attention.  With  the  first  page 
properly  displayed  the  remain¬ 
der  of  the  pamphlet  will  be 
read  even  if  set  in  straight 
roman,  thus  increasing  the 
number  that  are  read  many 
fold,  for  where  the  first  page  is 
meaningless  or  unattractive 
very  few  people  will  take  the 
interest  or  trouble  to  give  it 
even  a  passing  glance.  If  it  is 
worth  doing  at  all,  do  it  well. 
Make  it  striking. 


107 


HE  above  celery  bunch  illustrates  one  of 
many  excellent  effects  which  can  be  cheaply 
secured  with  one  or  more  printings.  The 
cut  can  be  printed  on  a  green  tinted  paper, 
with  deep  green  ink,  and  by  means  of  con¬ 
trast  between  tone  of  cut  and  paper  get 
good  two-color  effects,  or  it  can  be  printed  in  a  rule  and 
ornament  form  in  yellow,  then  printed  again, — the  type  form 
in  blue, — thus  getting  a  natural  green  celery  bunch,  with  blue, 
yellow,  and  tone  of  paper,  all  at  two  printings. 


168 


♦  ♦ 

^  ^jTjTjTjmnjxmxruiJxriJTJxmTruxrTj^^  ^ 

Tliree=Color  Effects  I 

from  One  Printing  J  | 

♦ 
♦ 

‘jTjTJTjiJTJTTiJTjTJTnjiJTnxLJxmnjTJTrLnjTJxr^  ^ 

: 

♦ 

♦ 
♦ 
♦ 
♦ 
♦ 
♦ 
♦ 
♦ 
♦ 
♦ 
♦ 
♦ 
♦ 

t 

♦ 
♦ 


jANT  be  done !  Let’s  see. 
Choose  a  colored  paper, 
then  an  ink  which  will 
give  pleasing  gradations, 
and  then  by  contrast  of 
faces  in  type,  rule,  and  ornament  it  is 
possible  to  secure  three,  or  even  more, 
color  effects.  The  contrast  between  a 
border  giving  the  effect  of  about  a  half 
tone  and  a  full  color  of  type  or  orna¬ 
ment  adds  greatly.  Always  carefully 
consider  the  contrast  of  faces  in  com¬ 
posing  ornamental  work. 


1  TjTJxmrnjTjrnjTj^^ 


.169 


Remember  . .  . 


THAT  LIGHT,  ORNAMENTAL  TYPE 
FACES  SHOULD  BE  DONE  IN 
COLD  OR  BLACK  COLORS  . 


Good  Judgment  in  selecting  type 
is  one  of  the  chief  factors  in  secur= 
ing  color  effects,  in  which  are 
combined  harmony,  force,  and 
beauty. 


THAT 


170 


]Motc  the 
^act  .  .  . 

That  contrast  of  tone  is  se¬ 
cured  not  only  by  placing 
side  by  side  colors  varying  in 
intensity  of  tone,  but  just  as 
truly  by  using  light  and  dark 
faces  of  type  and  ornament 
side  by  side,  or  by  using  deep 
tones  and  half  tones.  Often¬ 
times  the  contrast  between 
the  heavy  and  light  tones 
which  are  put  into  the  half¬ 
tone  picture  by  the  engraver 
is  just  what  gives  it  its  pecul¬ 
iar  life  and  attractiveness. 


171 


172 


LJTJTJTJlJXrUTJTLJTJlJXnTLriJinJTJTJTJTJT^^ 


njTJT-jxrinnjTjxrin/^^ 


CONTRAST  OF  COMPLEMENTARY  COLORS 


In  this  combination  of  colors  is  illus¬ 
trated,  harmony  of  contrast  of 
complem entary .colors  used  at 
their  fullest  intensity.  This  com¬ 
bination  might  have  been  made  less 
striking  and  more  tasty  by  reducing 
the  green  somewhat  with  white,  or  better  yet,  by 
reversing  the  colors,  usings  red  for  the  block  initial, 
and  green  for  the  body.  The  colors  are  used  as 
they  are,  simply  because  this  series  is  arranged  to 
illustrate  and  give  the  material  for  proving  by  means 
of  the  ornamentation  some  of  the  laws  governing 
harmony  and  simultaneous  contrasts.  Notice  how 
vividly  the  initial  stands  out  of  the  green  back¬ 
ground,  being  made  stronger,  purer,  and  more  strik¬ 
ing  by  the  simultaneous  contrast.  No  other  sample 
in  this  series  will  give  so  strong  a  contrast  of  color 
in  ornamentation,  hence  it  is  evident  that  when 
properly  reduced  and  scientifically  handled,  red  and 
green  are  admirably  adapted  for  use  where  especially 
catchy,  bold  effects  are  desired.  They  will  be  found 
equally  good  in  securing  more  subdued  effects  when 
sufficiently  toned  down. 


Patrons 

Expect 

Perfect 

Work 


^  GET  THERE ^ 


**Oh!  that  is  good  enough"*  wilt 
not  go  in  color  <work  or  in  first  class 
fob  <work*  The  t>ery  best  of  inkt 
stock,  presses,  cuts,  etc. ,  avail 
nothing  if  the  pressman  has  not 
fully  learned  the  lesson  of  getting 
there  el>ery  time.  Better  by  far 
that  the  careless  feeder  never  try 
anything  but  a  one-color  fob.  Poor 
feeding  not  only  spoils  the  fob  in 
hand,  but  it  also  brands  the  office 
as  being  capable  of  only  poor 
vaork.  Get  clear  there  in  composi¬ 
tion,  in  makeready,  in  matching  ink, 
in  using  appropriate  stock,  and  in 
feeding;  and  stay  there  until  the 
vaork  in  hand  is  deltpered,'  vuhere 
and  fust  vohen  it  is  promised.  No 
fob  is  unimportant;  it  is  "bitally  im¬ 
portant  to  do  the  best  possible  on 
el>ery  fob  going  out  of  the  office  if 
one  is  to  recetbe  another  from  the 
same  people. 


^EVERY.  TIME^ 


174 


CONTRAST  OF  COMPLEHENTARIES 


IN  this  initial  we  have  a  striking  illus¬ 
tration  of  contrast  of  complementary 
colors.  It  also  affords  a  good 
opportunity  of  testing  (for  seeing  is 
believing)  the  truth  of  the  principle 
of  simultaneous  contrasts.  Take  a 
large  sheet  of  white  paper,  cut  out  of  it  a  square  the 
size  of  the  initial  block,  and  place  the  sheet  so  that 
you  can  see  only  the  blue  initial  and  orange  block 
surrounding  it.  Then  look  steadily  at  this  block  for 
some  time  without  winking,  holding  it  some  twelve 
or  fifteen  inches  from  the  eyes,  then  shift  the  eyes 
upon  the  white  paper  and  look  steadily  at  one  spot 
for  a  moment,  and  you  see  an  orange  initial  letter 
surrounded  by  a  blue  tint,  just  the  reverse  of  the 
original  colors.  Thus  it  is  evident  that  each  color 
strengthens  the  other.  A  repetition  of  this  upon 
the  red  and  green  initial  will  give  strong  results. 
Had  this  initial  block  been  somewhat  open  instead 
of  solid,  the  simultaneous  contrast  would  not  have 
been  nearly  so  marked,  showing  that  strength  of 
color  modifies  this  contrast. 


•IlT 


C 


P 

i 


COLORS  ON  THE  OPPOSITE 

sides'  of  the  triangle 

CONTRAST  BEST,  ji  ^  ji 


ONTRASTS . . 


m 


m 


<f 


In  two-colof  combinations  it  is 
safe  to  assume  that  a  color  will 
harmonize  well,  giving;  g:ood 
contrasts,  when  used  with  any 
color  on  the  opposite  side  of  the 
triangfle*  It  is  essential  to  be¬ 
come  so  familiar  with  the  colors 
on  the  triang;Ie  as  to  be  able  to 
instantly  locate  them  at  will. 

The  complementary  colors  are 
always  made  strong;er  by  simul¬ 
taneous  contrast,  when  brougfht 
into  juxtaposition.  In  fact,  si¬ 
multaneous  contrasts  will  always 
cause  colors  to  appear  different 
from  what  they  really  are. 
These  illustrations  fully  show 
this.  Do  not  fail  to  take  this 
into  account  when  choosing; 
colors. 


J7(; 


CONTRAST  OF  SECONDARIES. 

N  this  we  have  contrast  of  two 
secondaries.  This  would 
have  been  improved  had  the 
colors  been  chosen  more 
widely  apart.  Search  to  find 
the  different  changes  that 
would  have  improved  these 
pages.  A  little  study  of 
books,  and  of  fine  work,  thought  out  and  executed 
by  good  workmen ;  searching  as  for  hidden  treasures, 
for  the  cause  of  the  soft,  blending,  and  attractive 
'  effect,  is  the  way  the  eye  is  trained  to  first  see,  then 
appreciate,  and  then  to  dictate  and  execute.  It  is 
no  more  of  an  effort  for  the  trained  eye  to  distin¬ 
guish  between  harmonies  and  discords,  than  it  is  for 
the  untrained  eye  to  look  blankly  into  space,  seeing 
and  yet  blind.  The  saddest  of  facts  is  that  people 
look  upon  all  nature’s  marvelous  beauty,  and  see  it 
not.  ^  Why  ?  They  have  not  discovered  that  not  only 
life  is  kn  art,  but  that  seeing,  thinking,  acting,  are 
.  each  arts  and  the  science  of  each  must  be  fully 
learned  before  one  becomes  an  artist  in  his  line,  and 
before  he  gets  true  enjoyment  from  it. 


177 


A  ROUND  PLUG 

( 

fits  a  round  hole  better  than 
a  square  plug.  Where  there 
is  a  choice  always  take  the 
best.  A  tone  or  hue  of  ink 
which  looks  well  in  orna¬ 
mentation  may  not  be  as 
well  suited  for  the  body  of 
the  page  and  its  strong  lines. 
This  page  illustrates  this 
by  comparison.  Study  it 
carefully,  intelligently,  and 
decide  for  yourself  which  is 
best  suited  for  ornament, 
border,  etc.,  and  which  for 
body  type. 


The  Deep  Tones 


of  the  cold  colors  and  black 
will  give  stronger  type 
effects  than  the  warm  colors. 
The  light,  warm  colors  used 
in  borders,  underscores,  or- 
naments,  and  tints  add  life, 
beauty  and  force  to  the  work. 
It  requires  not  only  choice  of 
ink  but  choice  of  type  faces 
as  well.  No  one  would 
think  of  using  a  script  and 
bold=face  gothic  side  by  side 
==“t  h  i  s  admitted  and  you 
have  the  essential  principle 
of  appropriateness  of  type 
faces  to  their  surroundings. 


CONTRAST  OF  SECONDARIES. 

N  this  page  we  see  an  illustra¬ 
tion  of  two  full  toned  second¬ 
aries  used  together.  The 
contrast  would  have  been  more 
harmonious  had  the  orange 
been  moved  more  around  the 
triangle  towards  red  and  the 
green  towards  blue.  For  this 
illustration  the  secondary  colors  were  taken  without 
toning  or  softening,  that  the  student  may  take  this 
as  a  starting  point  and  move  experimentally,  from 
this  to  the  best  possible  hues.  It  is  Well  when  using 
these  colors  to  keep  this  rule  in  mind,  always  choose 
colors  or  hues  as  widely  apart  on  the  triangle  as 
possible.  The  reason  for  this  is  that  the  simulta¬ 
neous  contrast  may  be  as  favorable  as  possible  for 
the  harmony.  This  and  other  vital  points  have  been 
mentioned  in  the  text  but  so  important  are  they  that 
they  are  not  only  repeated  for  emphasis  but  illus¬ 
trated  where  it  seems  best.  By  careful  consideration 
and  comparison  of  these  pages,  one  soon  comes  to 
more  easily  select  the  tones  and  colors  which  will- 
give  the  very  best  of  harmony. 


171* 


^  HIT  OR  MISS  os 
FEEDING 

THE  REGISTER  DIDN^T  HIT 
BUT  THEY  DID  FINELY. 
ACCURATE  REGISTER  IS 
ABSOLUTELY  ESSENTIAL. 

BELOW  IS  AN  EXAMPLE  OF 
POOR  FEEDING.  GOOD 

FEEDING  IS  A  HABIT.  J' 

^  ACQUIRE  THE  HABIT. 


180 


CONTRAST  OF  PRIMARIES 

N  this  combination  of  colors  is 
illustrated  the  contrast  of  the 
primary  colors,  red  and  blue. 
Being  primary  and  chosen  as 
nearly  pure  as  possible,  they 
work  together  fairly  well, 
though  they  are  not  as  perfectly  harmonious 
and  pleasing  as  they  would  have  been  had  a 
hue  or  lighter  tone  of  one  been  used.  Theo¬ 
retically,  primary  colors  are  pure,  but  practi¬ 
cally,  although  we  may  not  sense  it,  each  color 
has  a  small  per  cent  of  all  three  primaries  in  its 
composition,  sufficient  in  fact  so  that  when  two 
are  used  side  by  side,  they  mix  in  the  eye  and 
form  white,  which  lightens  the  tone  and  inten¬ 
sity  of  each  color.  This  can  be  seen  readily  by 
looking  at  the  initial  letter  on  this  page,  the 
color  block  around  the  initial  letter  appearing 
of  a  lighter  tone  than  the  outer  edges  of  the 
block.  Hence  when  mixing  primary  colors,  in 
the  eye,  if  it  is  desired  to  deepen  the  tone, 
choose  colors  leaning  toward  each  other  a  trifle 
thus  shutting  out  the  third  primary  ;  to  lighten 
the  tone,  select  colors  as  different  as  possible. 


181 


^NOVELTIES^ 


the  line  of  novelties 
there  are  some  pretty 
and  attractive  effects 
which  can  be  secured  by 
printing:  appropriate 
landscape  cuts,  etc.,  first 
in  black,  then  with  the 
same  cut  and  regfister, 
print  over  the  black  with 
a  Iig:ht,transparentg:reen 
ink.  The  black-gfreen 
effects  are  wonderfully  true  to  nature, 
pleasing:  and  restful  to  the  eye,  and 
add  Iarg:ely  to  the  value  of  the  picture- 
Good  results  are  also  obtained  if  brown 
be  substituted  for  black.  A  novel 
effect  can  be  secured  by  printing:  a 
picture,  say  cabinet  size,  with  orna¬ 
mental  border  in  brown,  then  print 
over  the  picture  in  the  g:reen. 


182 


HELPFUL  HINTS 


CONTRAST  OF  TONE  OF  RELATED  COLORS 

ONTRAST  of  tone  of  distantly 
related  colors  is  illustrated 
on  this  page.  This  full,  rich 
tone  of  violet  is  useful  for 
bold,  catchy  effects.  It  is 
best  suited  for  bold-face  types. 
When  about  to  run  two  or 
more  colors  on  a  cylinder 
press,  test  your  register  at  the  very  outset,  before 
making  ready.  To  do  this,  print  on  the  packing 
three  or  four  successive  impressions  with  the  press 
running  full  speed.  If  it  prints  as  if  only  one  im¬ 
pression  had  been  taken,  go  ahead  with  makeready. 
If  the  printings  yary,  the  bed  and  cylinder  do  not 
register,  and  the  lost  motion  must  be  found  and 
corrected  before  accurate  work  can  be  done.  In  two- 
color  work  take  no  chances;  several  times  a  day  the 
pressman  should  take  four  sheets  from  the  delivery 
and  run  them  through  a  second  time  to  ascertain 
that  no  change  has  disturbed  the  register.  Com¬ 
plete  detailed  instructions  for  this  will  be  found  on 
page  125. 


188 


¥  ¥  ¥ 

¥  ¥  ¥ 

¥  ¥  ¥ 

¥  ¥  ¥ 


jMcatnces  ^ 


¥  ¥  ¥ 

TITLE 

PAGE 

..OF.. 

BOOK 


¥  ¥  ¥ 

¥  ¥  ¥ 

¥  ¥  ¥ 

¥  ¥  ¥ 


¥  ¥  ¥ 

¥  ¥  ¥ 

¥  ¥  ¥ 

¥  ¥  ¥ 


The  setting  of  a  title  page  often 
tries  the  patience  and  skill  of 
the  inexperienced  workman. 
Limited  as  one  is  to  small 
variety  of  type  and  ornaments, 
it  requires  experience  to  make 
an  attractive  title  page  that  shall 
truly  and  appropriately  foretell 
the  story  of  the  book. 

The  page  must  be  symmetrical, 
neat,  and  set  say,  in  old  style, 
light  or  heavy  according  to 
character  of  the  book.  Just 
a  little  red  helps  wonderfully, 
not  red  for  the  principle  line, 
but  for  some  minor  lines  wide 
apart,  just  to  enliven  the  page. 


(1 

i- 

ISi  ™LPFUL  hints  |H| 


CONTRAST  OF  PRIHARIES 

IS  combination  of  colors  illustrates 
contrast  of  primary  colors,  the 
tones  being  widely  different;  one  is 
a  warm  and  the  other  a  cold  color. 
Far  superior  results  could  be  secur¬ 
ed  by  reducing  one  to  a  half  tone, 
but  by  so  doing  we  must  have  lost 
the  true  illustration  of  primary 
colors.  The  result  would  also  have  been  more 
pleasing  had  they  been  moved  around  the  triangle 
away  from  each  other  a  little.  It  must  not  be  as¬ 
sumed  that  because  certain  colors  and  tones  of  ink 
or  paper  are  combined  in  “The  Practical  Colorist’’ 
that  they  must  of  necessity  be  harmonious,  or  the 
best  possible  choice  of  tone  and  shade  for  good  effect. 
On  the  contrary,  this  book  is  dealing  with  colors 
unharmonious  as  well  as  harmonious;  shows  them 
as  they  are,  that  the  student  may  see  and  judge  for 
himself,  avoiding  the  poor  and  choosing  the  good. 
Viewing  this  page  by  different  lights  you  have 
perfect  illustration  of  how  light  changes  the  color  of 
objects.  Viewed  by  yellow  or  gas  light  the  yellow 
fades  to  a  very  light  tint. 


18(: 


In  producing  this  illustration  two  impressions  were  taken  from  the  same  plate^  violet  ink  being 
used  on  the  first  impression  and  transparent  green  on  the  second*  Similar  effects  could  be  pro¬ 
duced  by  combining,  in  the  same  manner,  brown  or  black  and  transparent  green. 


HELPf^  HINTS 


4 


CONTRAST  OF  HUE. 

N  this  page  we  have  violet  com¬ 
bined  with  a  light  tone  of 
green.  There  is  a  wide  range 
of  broken  colors,  many  of 
which,  when  intelligently 
toned  and  combined  with 
other  colors  are  capable  of 
excellent  results.  This  is  a 
field  exceptionally  full  of  rare  opportunities,  but  it 
must  be  entered  understandingly,  in  order  to  secure 
the  best  results.  If  the  hues  are  taken  at  random, 
they  will  fail  to  please,  will  appear  glaring  and  cause 
one  to  wonder  why.  But  if  the  color  artist  changes 
hue  and  tone,  until  the  contrasts  and  combinations 
are  in  harmony  with  nature’s  laws,  the  effect  be¬ 
comes  so  subdued  and  subtle,  and  yet  so  powerful 
as  to  seem  to  blend  and  unite  to  produce  one  grand, 
harmonious  whole,  which  pleases  and  attracts  the 
eye  even  of  the  untrained.  It  is  a  safe  rule  in  all 
this  class  of  color  combinations  to  avoid  as  much  as 
possible  violent  contrasts ;  they  give  more  flashy 
results,  but  seldom  secure  as  pleasing  effects.  In 
combining  hues  it  is  best  that  a  primary  color  shall 
be  discernable  in  each  color. 


M  .'v  ^  A  A  A  A  M  A  A  A  A  lA  lAr  A  A  A  lA  1^  A 


HERE  several  colors  are  desirable,  on, 
for  instance,  a  first  pagfe  of  a  folder, 
upon  which  a  half-tone  illustration 
and  type  are  to  be  printed,  the  half= 
tone  may  be  run  in  both  forms,  us= 
ing  two  of  the  primary  colors. 
Three-color  transparent  inks  must 
be  used,  which  will  combine  and 
’  give  a  third  and  beautiful  color  to 
the  half-tone  illustration,  as  is 
,  shown  by  the  cut  below,  which  was 
printed  in  blue  and  yellow,  thus  se¬ 
curing  green.  With  proper  care  and 
skill  an  edition  of  many  thousands 
of  impressions  can  be  successfully 
worked  off.  In  setting,  place  the 
cut  in  both  forms  so  that  it  will 
register  accurately.  Use  the  darker 
color  for  type  effect  and  the  lighter 
for  ornament.  Absolute  accuracy 
of  feeding  is  essential  in  order  that 
on  second  printing  the  cut  shall  com¬ 
pletely  cover-^he  first  printing. 


ISH 


»■**¥*¥¥¥¥¥**¥¥*¥¥¥*¥¥¥*¥¥¥¥*¥**¥¥**¥¥¥¥*¥¥¥¥•* 


^  oc  HELPFUL  HINTS  ^  ^ 


HARHONY  6f  TONE  OF  RELATED  COLORS 


HIS  page  illustrates  harmony  of 

related  colors.  Harmonious 

results  are  easily  obtained  by 

using  such  pairs  of  colors  with 

the  light  tone  for  a  tinted 

ground,  on  which  to  print  the 

text  in  the  darker  color.  Fine 

results  in  tinted  grounds  are 

also  -  secured  bv  contrast  of  unrelated  colors.  So 

•*  ✓ 

many  printers  experience  trouble  in  using  solid  tint 
blocks  that  a  helpful  suggestion  will  not  be  amiss. 
If  the  block  is  a  somewhat  large  one,  the  press  must 
be  fully  strong  enough  and  with  sufficient  inking 
capacity  to  do  full  justice  to  the  tint.  The  distribu¬ 
tion  must  be  so  perfect  that  it  is  not  necessary  to 
carry  a  very  heavy  coat  of  ink,  thus  raising  the 
intensity  of  the  color  of  the  tint  somewhat,  from  what 
it  must  have  been  if  more  ink  had  been  carried.  On 
some  designs  it  is  advantageous  to  run  the  tint  last, 
,  using  an  ink  made  by  adding  a  trifle  of  color  to 

t  magnesia  ink,  thus  giving  the  whole  a  fine,  glossy 

appearance. 


f 


NEVER  CRITICIZE 

another  s  vjork  unless  you  are 
yourself  familiar  ^th  all  the 
la^s  of  harmony.  $  I  # 
not  sneer  at  technique^  for 
it  is  simply  the  knowledge  and 
skill  for  scientifically  perform¬ 
ing  the  every  detail  of  a  work 
of  art.  #  #  #  #  # 


100 


r. 


}■ 


ITH  this  combination  of  colors 
is  illustrated  harmony  of  domi¬ 
nant  colors,  the  tones  seeming 
to  blend  into  each  other.  It  is 
by  the  use  of  such  soft  har¬ 
monies,  that  the  expert  colorist 
secures  his  subtle,  tasty,  and 
beautiful  results  which  charm 
the  eye;  hold  the  attention,  and  cause  one  to  carefully 
study  the  printed  page.  It  is  no  more  difficult, 
takes  no  more  time,  to  use  colors  intelligently, 
combining  hues  or  tones  tastefully  graded  and  by  the 
rules  governing  harmony,  than  it  does  to  simply 
take  any  old  inks  without  a  thought  as  to  what  effect 
one  will  have  on  the  other;  and  yet  be  satisfied,  yes, 
proud.  Where  ignorance  is  bliss  is  it  folly  to  be  wise? 
Let  nothing  but  the  best  satisfy.  Have  a  definite 
purpose  and  a  reason  for  everything  which  you  put 
into  a  job.  Do  not  use  ornament  or  color  simply  to 
fill  up,  for  if  you  do  it  is  apt  to  injure.  Use  nothing 
but  what  will  make  the  job  stronger  and  more 
forceful. 


SEARCH  FOR  THE  CAUSE  ^  ^  ^ 

ONE  LOOK  IS  NOT  ENOUGH, 

I  t  t  look  again. 


GOOD  PRINTING 


demands  a  second  glance^ 
which  leads  the  intelligent 
observer  to  a  more  careful 
consideration  of  the  sub¬ 
ject  matter,  and  becomes 
the  means  of  true  growth 
and  development.  ^ 
Good  work  is  never  acci¬ 
dental  nor  haphazard,  as 
it  at  first  appears;  but 
is  rather  the  legitimate  re¬ 
sult  of  a  carefully  planned 
scheme.  ^  ^  ^  ^ 


HUES  DIFFERENT  IN  TONE. 


ECONDARY  colors  contrasted 
with  a  light  tone  of  a  primary 
give  good  results.  In  using 
the  light  tones  of  ink  it  is 
essential  to  be  scrupulously 
neat  lest  the  tint  be  defik^d. 
Rollers  must  be  cleaned  thor¬ 
oughly,  a  coat  of  the  tint 
’  .  distributed  on  them,  and  then  carefully  cleaned  again, 

^  v'  being  sure  to  get  all  old  ink  out  of  cracks  and  from 

ends  of  rollers,  on  bearers,  etc.,  wiju'ng  the  whole 
press  clean  and  free  from  anything  which  could  defile 
■  '  the  tint.  It  only  t^kes  a  mere  trille  to  change  the 

[  hue  of  a  delicate  tint.  No  amount  of  careful  work 

on  composition,  choosing  colors,  feeding,  etc.,  will 
avail  unless  these  seemingly  trilling  details  of  tech- 
[  nique  are  carefully  attended  to.  Do  not  attempt 

'  color  work  by  colored  light;  especially  is  thisapplica- 

'p  ble  to  tints  and  light  colors.  As  has  been  stated 

‘  elsewhere  colored  light  changes  the  appearance  so 

^  much  that  when  viewed  by  sun  light  the  work  will  be 

;■  found  ruined  because  the  tint  is  by  far  too  strong 

'<  and  glaring. 


I 


The  Wheels  of  Success 


ARE  NOT  SET  IN  MOTION 

EY  LOOKING  IN  THE  GLASS 


Equal  parts  of  couragfe  and  purpose  will  over¬ 
come  all  obstacles  even  where  one^s  **  friends 
cry  **  he  can't  do  it,  it  isn't  in  him,  you  know*" 
It  is  not  self  reliance  so  complete  as  to  igfnore 
that  study  and  practice  alone  can  fit  one  for 
success,  but  it  is  a  couragfe  that  knows  that 
knowledgfe  is  power,  and  by  study  and  hard 
work  anyone  can,  yes,  will  succeed*  ^ 


11)4 


HARHONY  OF  RELATED  COLORS. 

Y  careful  comparison  of  the  or¬ 
namental  initials  and  the  head 
and  tail  pieces,  one  can  read¬ 
ily  see  what  colors  are  most 
effective  in  combination,  also 
how  one  color  looks  over  an¬ 
other,  how  side  by  side.  The 
head  and  tail  pieces  were  not 
selected  for  beauty  but  to  show  plainly  these  facts. 
Many  beautiful  results  can  be  obtained  from  a  color 
and  its  various  contrasts  of  tones.  The  inclination 
with  inexperienced  printers  is  to  always  use  the 
same  colors.  Such  operators  are  able  to  see  noth- 
ing  good  in  but  the  one  side  of  the  triangle.  Their 
work  all  looks  alike.  Don’t  be  one-sided.  If  the 
paper  to  be  used  is  a  green  tint,  use  a  light  tone  of 
green  and  a  touch  of  red  for  ornament,  and  a  full, 
deep  green  for  the  body,  adapting  color  and  tone 
of  ink  to  suit  color  of  paper  and  faces  of  type  and 
ornament  to  be  used  When  several  colors  are  to 
be  used,  light,  intermediate  tones  will  add  greatly 
to  the  harmony. 


195 


^IS  IT  LUCK?^ 

It  is  Simply, 


DO  YOU  BELIEVE  IN  CAUSE 
AND  EFFECT? 


DO  YOU  BELIEVE  IN 
YOURSELF  ? 


He  ^ho  does  not  study  the  charts  and 
guides  in  color  m)ork  m)ill  ne^ver  be 
charged  m)ith  being  a  lucky  feUo%>, 


19<: 


CONTRAST  OF  HUES  EQUAL  IN  INTENSITY. 

ANY  of  the  hues  give  good 
results  in  combination,  when 
properly  toned  and  chosen. 
In  this  page  is  given  contrast 
of  hue  when  the  tones  are  of 
equal  intensity.  This  contrast 
is  often  quite  acceptable  when 
cold  and  warm  colors  are  used. 
It  is  not  as  pleasing  where  both  colors  are  cold. 
These  pages  are  printed  on  different  colors  of  paper 
not  only  to  illustrate  what  are  good,  but  as  well  to 
show  how  color  of  paper  injures  certain  inks  when 
printed  on  it.  This  proves  that  two  colors  placed 
side  by  side  throw  a  tint  of  their  complementary 
upon  each  other  thus  strengthening  or  weakning 
the  harmony.  It  also  illustrates  the  lack  of  balance 
of  proportion,  the  tint  of  the  paper  covers  many 
times  the  surface  which  is  occupied  by  the  color 
printed  upon  it,  hence  the  printed  color  will  be 
changed  most  by  the  contrast. 


HIS  illustration  is  the  re= 
suit  of  printing  from  two 
plates  made  especially  for 
two  =  color  work,  the 
plate  with  brown  ink  be= 
ing  printed  first,  tl^en  the  C 
green  added  with  jthe  sec=^  3 
ond  plate.  How  often  ond  ^ 
uses  two  impfessionsVf^ 
only  to  secure  two  colors  3  3 
of  type  or  ornament  when  C  \ 
results  like  the  a  b  o  v  e  1  ^ 
could  .hav^  been  obtained.  / 


1  s 


190 


s 


In  Nature, 
In  Art, 

In  Your 
Fellowman, 
In  Printing. 


IT  IS  OF  noRE 
VALUE  THAN 
HUGH  GOLD... 


earch  for  the 
Beautiful  ^ 


The  beautiful  flower,  or  life,  or 
work  of  art  stimulates  to  higher 
and  better  things. 

The  Constant  Study 

of  beautiful  printing  is  not  only 
inspiring  but  impels  one  with 
irresistible  power  on  to  higher 
and  better  endeavor.  It  pos= 
sesses  an  unseen  yet  o  v  e  r  = 
whelming  power  that  takes  full 
possession  of  every  one  who 
looks  lovingly  upon  it.  ¥  ¥ 

Life  is  not  worth  the  living,  nor 
is  success  possible  except  the 
inspiration  of  “  the  love  for  the 
beautiful”  has  molded  and 
shaped  It.  ¥  ¥  ¥  ¥  ¥  ¥ 


200 


le  Color  ^ 
Slork  ^  ^ 
profitable  ? 


A  little  loitering,  hesitating  and 
doubting  as  to  ywsf  Aow  in  make- 
ready,  causing  it  to  take  an 
hour  instead  of  one-half  hour, 
will  double  this  item  of  ex¬ 
pense.  Continue  this  policy  of 
indecision  to  the  completion  of 
the  job,  and  it  will  double  the 
whole  cost.  Then  it  surely  will 
not  be  profitable.  A  few  mo¬ 
ments,  a  little  stock,  ink,  etc. 
wasted,  seems  but  an  insignifi¬ 
cant  trifle,  yet  when  it  doubles 
the  item  of  expense,  it  becomes 
the  point  on  which  profit  and 
loss  depends.  This  then,  is  the 
secret  of  profit  on  any  work  ;  to 
first  be  perfectly  familiar  with 
the  detail  in  order  to  do  the  Job 
In  the  shortest  possible  time, 
then,  remembering  that  time  is 
money,  do  ndt  Waste  it,  f  f  f 
There  is  no  greater  mea:ns,  of 
economy  thae  t^ing  ani^^ert 
at  trad€^,^p^hen  irifetant 

and  ii!%e  deci^fe&s  are  pfliefBle. 

W  W  w 


GOOD  IDEAS 


More  than  all  else  your 
customers  "tDant  ideas. 


'HEY  want  something  in 
colors  that  is  catchy,  inter¬ 


esting  and  that  will  be  pre- 
ser^bed  for  its  own  sake.  The 
successful  printer  must  put  indi¬ 
viduality  into  his  work.  He 
must  fit  himself  to  do  what  his 
competitors  cannot  do.  #  |  | 

He  must  be  able  to  suggest  and 
to  carry  out  these  suggestions  ;  to 
lead  instead  of  simply  doing  the 
bidding  of  his  customers.  Soon 
he  will  come  to  be  looked  to, 
counseled  and  in  a  way  control  the 
advertising  policy  of  his  clients. 


THIS  IS  THE  METHOD  OF 
THE  SUCCESSFUL  PRINTER 


202 


I 


Color  Gives  Life 

AS  A  LITTLE  COLOR  AT  THE  NECK 
OR  ON  THE  HAT  GIVES  LIFE  AND 
CHARACTER  TO  THE  COSTUME, 


The  colored  initial  letter,  orna¬ 
ment  or  underscore,  gives  life 
and  added  strength  to  the 
printed  page.  It  is  not  color 
in  masses,  but  a  little  here  and 
there  to  give  contrast  both  in 
brightness  and  in  quality  which 
/  gives  most  pleasing  results. 


•iOi 


KEEP  UP  TO 

USE.S* 

THE  TIMES  at 

ONLY 

NEW  AND  ATTRACTIVE 

THE^ 

SERIES  OF  TYPE  DEMAND 

BEST 

THE  ATTENTION  OF  THE 

PUBLIC  EYE.  at  at  at  at  at 

i  f 


It  is  the  Duty  of  the 

Successful  Printer  ^  ^ 


to  take  advantage  of  these  early,  be¬ 
fore  the  **  other  fellow  does ;  and 
if  appropriate,  use  bright,  firm  col¬ 
ored  ink  on  the  new  faces  at  the 
first;  it  will  help  to  emphasize  and 
enrich  them.  Not  every  new  type 
is  worth  having.  Let  the  other 
fellow  have  a  monopoly  of  the 
weird,  deformed,  unreadable  types, 
which  some  dyspeptic  artist  has  de¬ 
signed.  ^  ^  ^  ^  ^  ^ 


204 


REPRODUCTION  OF  A 
PASTELLE 
PRINTED  WITH 
ULLMAN'S  SPECTRUM  INKS- 
YELLOW,  RED,  AND  BLUE. 


THE 

Summer  Season 


205 


A  DELiaOUS 

BREAKFAST  CEREAL 


Malt 

Breakfast 

Food 


ALL  THE  VIRTUES  OF  MALT 
ALL  THE  STRENGTH  OF  WHEAT 


206 


AVOID 


VIOLENT  a» 
CONTRAST 


CONTRAST  OF  TONE 
MAKES  ATTRACTIVE 


207 


209 


Ife  Ife 

/ 

TO  THE 
PRINTER 

~w~ww 


210 


g 

4 

m 

]Novcl  Cute 

Catch 

Ss 

2^* 

1  Che  eye 

4 

4 

1  ■*b;^^. 

mm^m 

1  If  |j  "f  ^  <1 

211 


212 


^  \b  \iii  ^ 
^  tit' 


We  Never*# 
Disappoint 


^  \b 


^  ^  ^  ^  ^ 

^  ^  ^  ^ 

\h  ^  ^  ^  ^  ^ 

\i!^  \i>  ^  ^  ^ 

\i>  ^  \i>  ^  ^ 

\il^  \h  ^  ^  ^  \h  \b 


JOHN  HUSTLER 

PRINTER 


xit^ 


\b  xi!^  ife  xH^  xi^ 

(//  Xi^  Xi^  Xtf  xh  Xi^  xi'^ 


213 


USE 

GOOD 

INKS 


A  few 
Good 

Suggestions 


INDUSTRY 
NEED  ^ 
NOT  WANT 


216 


Quantity 


Quality 


WHICH? 


217 


A.  L.  A.  VISIT 
TO  BURLINGTON 


JUNE ,  1900 


CO MPLI ME  NTS  OF 
THE  INTERNATIONAL  MONTHLY 


21g 


219 


KNOWLEDGE 
LEADS  TO 
HARMONY 


220 


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with  no  danger 
from  melted  rollers. 
Will  increase  pro¬ 
duct  over  50  % . 


FOUR  SIZES 


TWO  STYLES 


at  speeds  from 

1300 


TO 

3000 


The  Color  Plates  in  this  book,  with  but  few  exceptions,  were  all 
printed  upon  Golding  Jobbers  with  Automatic  Brayer  Fountain  and  Du¬ 
plex  Distributor.  Note  perfect  distribution  and  sharpness  of  detail. 
Send  for  circulars  and  descriptive  matter  to  our  nearest  branch. 


GOLDING  &  CO., 


Boston 


Ne<w  York 


232 


Philadelphia 


ESTABLISHED  IN  J862. 

TAYLOR  BROS.  &  CO., 

♦  ,  Manufacturers  of  *  * 

Paper  Trimming 

M 

1 

KNIVES 

Made  From  the  Best  SteeU 

Warranted  Uniform  Temper* 

Superior  in  Quality,  Make  and  Nnish* 


FULTON,  N,  Y.,  U.  S.  A. 


IN  ORDERING  SEND  DIAGRAM  OF  KNIFE,  FULL  SIZE:  STATE  THICKNESS 
AND  GIVE  NAME  OF  MACHINE  AND  MANUFACTURER. 


233 


Specimens  of  Our 


Tri=Color  Chromatic  Inks 

Unsurpassed  for  Working 
Qualities 


iKOTE 

the  High 
Gloss,  Smooth 
Finish  and 
Jet  Blackness 

WHERE 

THE 

THREE 

LAP 


3(0TE 
the  High 
Gloss,  Smooth 
Finish  and 
Jet  Blackness 

WHERE 

THE 

THREE 

LAP 


TN placing  these  colors  in  their  present  shape,  our  object 
^  is  to  giTie  our  friends,  the  printers,  the  clearest  con¬ 
ception  of  horn)  they  appear  <whcn  printed  alone,  and  hoTV 
smooth  they  Hvork  mihen  they  lap — their  high  finish 
and  jet  blackness  of  the  combination  of  the  three  colors 


F.  E.  Okie  Co. 


...Kenton  Place... 

Philadelphia,  Penna. 


MANUFACTURERS 

OF 


High-Grade  Printing  Inks 


The  Test  of  Time 


Time  discards  99%  of  the  books  that  are  written  and  about 
the  same  percentage  of  the  new  inventions  discovered.  While 
it  is  easy  to  do  a  thing  for  today,  it  is  hard  to  tell  what  will  sat¬ 
isfy  tomorrow.  This  is  why  men  attach  so  great  a  value  to  the 
test  of  time. 

The  Cottrell  Press  has  stood  the  test  of  time  ;  it  has  been 
measured  by  every  standard  of  the  past  thirty  years,  and  it  is  in 
greater  demand  today  than  ever  before. 

Isn’t  it  for  your  interest  to  know  why  it  is  so  often  pre¬ 
ferred  to  all  others  ?  A  postal  card  request  brings  you  our  cata¬ 
logue  and  full  information  about  our  New  Series  Cottrell  Press 
for  1900.  This  Press  attains  the  highest  record  of  steadily- 
maintained  speed  of  any  Two  Revolution  in  the  market. 

C.  B.  COTTRELL  &  SONS  CO., 

41  Park  Row,  New  York. 

279  Dearborn  St.,  Chicago. 


SUMMARY. 


O  secure  the  fullest  possible  benefit  from  a 
book  it  should  be  intelligently  studied  in 
harmony  with  the  plans  pursued  by  the 
author  in  compiling  it;  hence  a  few  sug¬ 
gestions  on  the  best  methods  of  study  of 
this  book  are  given  below. 

It  is  essential  to  at  once  become  thor¬ 
oughly  familiar  with  the  definitions  of  tech¬ 
nical  terms  and  the  triangle  so  that  when  used  the  full  import  shall  be 
quickly  grasped. 

Take  each  subject  of  interest  and  search  out  all  information  or 
illustrations  bearing  upon  it,  excluding  for  the  time  all  else,  that  the 
mind  may  be  free  and  alert  to  form  correct  inferences,  judgments,  and 
conclusions.  For  instance,  take  harmony,  learning  first  the  definition, 
then  the  explanations,  laws,  and  finally  turning  to  the  color  pages, 
seek  to  name  at  sight  the  different  classes  of  harmony. 

One  fact  should  be  carefully  read,  weighed,  considered  in  all  its 
bearings,  challenged  for  truth  and  accuracy,  and  if  finally  stored  away 
in  the  memory  it  should  be  as  a  fact  which,  having  been  carefully 
proven  to  be  both  true  and  vital,  should,  in  the  future,  become  a  law 
for  life. 

Take,  one  by  one,  the  samples  of  job  work  and  illustrated  pages 
and  see  how,  by  adding  to,  or  omitting  or  changing  either  type  or  color, 
you  could  have  improved  its  appearance.  Criticism  is  an  important 
means  of  developing  one’s  ability  for  quick  and  wise  execution.  The 
illustrations  are  especially  arranged  for  study  and  criticism,  hence  they 
can  often  be  improved  upon  by  any  good  workman.  Had  the  book 
been  printed  on  fine  coated  paper  with  infinite  care  for  perfect  effects, 
a  most  beautiful  volume  would  have  been  secured,  but  its  value  to  the 


230 


average  printer  would  have  been  lost.  The  endeavor  has  been  to 
show  on  such  stock  as  is  commonly  used,  just  such  results  as  can  be 
obtained  by  any  one;  that  the  samples  and  colored  illustrations  shall  be 
of  practical  value.  In  studying  these  illustrations  it  is  important  to 
know  the  plan  of  the  arrangement  as  is  indicated  on  pages  23,45,  71, 
96,  III,  129,  141,  149,  157,  165,  i6g. 

Choose  one  of  the  simple  one-color  pages  and  follow  the  successive 
changes  as  rule,  ornament,  border,  and  color  are  added,  as  is  shown 
in  the  series  on  pages  13 1,  142,  150,  159,  182,  202,  or  in  the 
series  144,  151,  158,  171,  174,  184,  196,  201.  The  changes  and 
additions  do  not  necessarily  improve  the  effect,  but  simply  afford  an 
opportunity  to  choose,  and  cause  one  to  think  and  form  opinions. 

A  variety  of  facts  can  be  secured  by  examining  consecutively  the 
illuminated  initial  letters,  or  the  head  and  tail  pieces,  as  in  these  is 
illustrated  the  practical  use  of  one  color  over  and  around  another.  In 
the  same  manner  group  in  one  study  the  colored  display  pages,  noting 
and  choosing  the  most  pleasing,  striking,  and  harmonious  color  com¬ 
binations,  and  also  those  less  agreeable  combinations  which  should  be 
avoided. 

Note  the  difference  between  the  half-tone  on  page  149  and  that 
on  page  172.  The  latter  is  used  as  an  example  of  an  absolutely  per¬ 
fect  half-tone  printed  on  stock  which  was  not  suitable;  Had  this  half¬ 
tone  been  made  with  a  coarser  screen  purposely  for  printing  on  S.  S.  &  C. 
stock,  it  would  have  been  as  clear  and  distinct  as  the  one  on  page  149. 

Vitally  important  business  principles  have  been  used  as  a  means 
of  displaying  the  color  schemes.  To  the  thinking  man  they  will 
prove  of  value.  They  may  suggest  some  new  truth,  or  they  may 
simply  form  a  basis  of  thought  from  which  wise  and  helpful  conclu¬ 
sions  shall  spring.  However,  the  many  facts  in  this  book  can  not  be 
successively  gathered  on  the  American  plan  of  cram  and  hustle,  nor 
can  they  be  absorbed  by  simply  looking  at  the  pictures  and  putting  the 
book  on  the  shelf. 

Study  simultaneous  contrast  and  its  effects  in  modifying  colors. 

Turn  for  help  to  the  chapter  on  printing  in  all  times  of  trouble 
and  perplexity  in  the  press  room. 

When  about  to  mix  tints  or  colors  of  inks,  full  instructions  will 
be  found  under  Inks.”  In  choosing  color  or  tone  of  ink  for  a  job 
turn  to  corresponding  color  of  stock  in  The  Practical  Colorist 


237 


and  make  your  selections  of  the  most  harmonious  color  or  combination. 

Read  over  the  chapter  on  three-color  process  work  before  attempt¬ 
ing  to  put  a  job  upon  the  press. 

Before  composing  an  especially  nice  job  turn  to  the  display  and 
advertising  pages  which  contain  such  a  variety  of  ornament  and  dis¬ 
play  as  is  sure  to  suggest  some  new  and  novel  feature.  These  ads 
were  executed  in  the  best  offices  in  the  land  and  are  models  of  neat, 
simple,  and  effective  harmony. 

Bestow  every  possible  spare  moment  on  harmony  ;  it  is  the  ro)al 
road  to  quick  perception.  If  searching  for  success  turn  often  to 
page  139. 

If  seeking  for  public  approbation  and  incidentally  to  earn  a  living 
by  rumiing  a  newspaper,  study  colors  in  newspaper  work  on  page 
127,  and  also  half-tones  on  page  79. 

The  crying  need  of  the  century  is  for  men  who  think,  and  think 
well  before  they  act.  This  book  is  simply  an  incentive  to  thought, 
and  thought  leads  to  harmony.  If  the  mind  dwells  constantly  on  the 
beautiful,  the  great,  the  best  to  which  you  aspire,  you  will  uncon¬ 
sciously  seize  upon  every  opportunity  for  advancement  •,  victory 
then  is  sure.  The  artist  printer  who  aspires  to  the  best,  will  read  no 
more  at  one  time  than  he  can  reason  out  and  think  to  a  logical  con¬ 
clusion.  If  The  Practical  Colorist  causes  you  to  criticize,  it  has 
accomplished  its  mission.  Think,  ponder,  criticize. 


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